This paper discusses the theoretical debate on four photographs, preserved in Auschwitz-Birkenau State Museum, which were taken secretly from the camp in Berkenau and displayed in the exhibition, Memoire des camps, in 2001. Georges Didi-Huberman, one of the curators of this exhibition, wrote a book, Images malgre tout, in which he refutes claims by Gerard Wajcman and Elisabeth Pagnoux that these photographs were merely a lie, i.e, cannot prove the existence of the Shoah. In Didi-Huberman's book, "in spite of all" has two meanings: first, despite Nazi prohibitions, these photographs were still displayed outside; second, which is the most important, in spite of our own inability to look at these images, we ought to let the images appear against the grand idea of the unimaginable Auschwitz. Starting from this debate, this paper attempts to explain how photography, as material evidence, is entangled in the historical interpretation and production of the truth. That is, how historical interpretation biases the readings of photography. Finally, this paper also aims to address Didi-Huberman's concept of "dialectical images" and discusses the possibility of reading images as cultural symptoms in the perception of the historical event