Art increasingly appears at “dark” museums and related formal sites to balance the traditional exhibits of war. This article explores how art might contribute a peace education perceptive in differing countries and a globalizing context. Case studies from the United Kingdom, Europe (West and East), and Southeast Asia (Cambodia and Vietnam) are analyzed. The former deploys new technologies and supports wellknown artists who appeal to art markets. Asian curation relies more on creativity, including children’s and victim’s art. Both deploy artistic devices to symbolize the scale of atrocities and create aesthetic depth-juxtaposition, prominence, perspective, repetition, patterning, and soundscapes. The analysis provides tools and checklists to assist curation and inform artists, and concludes that critical educational processes are as important as the art.