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Tamás Stark Expert opinion on the House of Fates design concept The central theme of the the House of Fates concept is the story of the Hungarian Holocaust, but including presentations on Hungarian Jewish life before and after the Holocaust was an excellent choice by the designers. The House of Fates tells the story of Jews but the exhibition proposition is correct in stating that the Jewish fate is a Hungarian fate and that their story is a Hungarian story. This is because Jews living in Hungary were Hungarians and their contribution was crucial in building a flourishing Hungarian culture and economy. The proposed exhibition deserves special praise for showcasing the history, traditions and spiritual values of Hungarian Jews while also highlighting the complexities and divided nature of this community. Notwithstanding the above, it is not clear who is considered to be a Hungarian Jew by the House of Fates. It seems to me that it uses the criteria of living within the borders of Hungary - whatever the borders were at the particular time. In the section telling the story up until 1918, Jews living in Slovakia, Carpathian Ruthenia, Transylvania and the southern territories are regarded as belonging to the Hungarian community. Then, in the presentation I received for evaluation on events after 1919, these Jews who ended up on the other side of the border are suddenly forgotten. Their fate is only mentioned again when some of these territories are re-annexed to Hungary between 1938 and 1941. When survivors of the Holocaust are mentioned, those on the other side of the border are consigned to oblivion again. It is a praiseworthy effort to present a significant portion of the Holocaust through personal stories. This makes the tragedy and the trauma relatable and understandable. In my opinion, the short explanations are true masterpieces because they summarise complex historical processes and events in a few sentences, and for the most part they are accurate. The central subject of the House of Fates concept is the period between 1918 and 1945. The design proposal is correct in referring to antismitic tendencies overshadowing the beginning of the Horthy era. The introduction of the “numerus clausus” was the most well-known and significant of these. The design proposal presents the consolidation of the Bethlen era as a sort of “silver age” because Jews could live freely and their representatives were admitted to the upper house of the Parliament. The design proposal suggests that Hungarian Jews lived in good or at least in acceptable circumstances for most of the Horthy era and institutional antisemitism “only” began with introduction of “anti-Jewish legislation.”