In 1928 German art historian Aby Warburg reflected on how humanity’s “treasure of suffering” becomes a human possession. Warburg’s term—in German, Leidschatz—crystallizes the aesthetics of Sarkis, a pioneer of contemporary art in Turkey. Sarkis’s grandparents had settled in Istanbul in 1915 after the horrors of the Armenian Genocide led them to flee Eastern Anatolia. His father was a butcher, and one day, while helping him work, Sarkis noticed a reproduction of Edvard Munch’s The Scream, 1893, on the paper used to wrap a piece of meat; his immediate feeling of identification with the howling