What are the boundaries of remembering? How do we make manifest the ruins of memory? How do we enter that time not measured in months and years? How do those not directly affected by the Holocaust encounter its meaning? How do we move toward the performance of memory with youth as co-creators, when we must be awake to the act of staging histories "both remembered and not remembered, transmitted and not transmitted"? In designing aesthetic practices of remembrance in the present, we face both the specificity of time and the collapse of time as a way of knowing. This paper articulates the design of a project, titled "Wrapped in Grief," in constituting personal and public memory in the aesthetic space made available by arts education. How can a drama work "capture the aesthetic of memory, its instability and its contingency"? "Wrapped in Grief" responds to these questions about the performance of memory by articulating a process for constructing and rehearsing our own identities among the narratives of others, present and past. (Contains 25 endnotes.)