This special issue of New German Critique, edited by Andreas Huyssen, Anson Rabinbach, and Avinoam Shalem, examines the legacy of Nazi-looted art in light of the 2012 discovery of the famous Hildebrand Gurlitt collection of stolen artwork in Germany. When the German government declassified the case almost two years later, the resulting scandal raised fundamental questions about the role of art dealers in the Third Reich, the mechanics of the Nazi black market for artwork, the shortcomings of postwar denazification, the failure of courts and governments to adjudicate stolen artwork claims, and the unwillingness of museums to determine the provenance of thousands of looted pieces of art.
The contributors to this issue explore the continuities of art dealerships and auction houses from the Nazi period to the Federal Republic and take stock of the present political and cultural debate over the handling of this artwork. Topics include Socialist cultural policy, Gurlitt and his dealings with German museums, German restitution politics since the Gurlitt case, and the political aspects of the “trophy art” problem.
Read the introduction to the issue, made freely available.