Ge dating info
Especially fraught places, where the Nazi project was most present, like the Haus der Kunst in Munich — the inaugural venue for the Nazi art exhibit organized to compete with the more popular modernist “Degenerate Art” show across the street — now commit a lion’s share of their resources to displaying the art they would have shunned during the Nazi reign.
In the hallways, historical timelines lay out the turbulent past.
Over the last 70 years, the country has accepted a simple truth: Out of sight hardly means out of mind.
The removal of the relics of a hateful social order is not in itself cause for celebration. The German case is exemplary not because Germans attained closure, but because they came to recognize that closure was neither tenable nor desirable.
The overdue momentum to remove various Confederate symbols, especially about 1,500 statues, from their perches has picked up across the country in the aftermath of right-wing violence in Charlottesville, Va. In others, activists have seized the initiative to speed things up.
But even a razed landmark is still a spot on the map, and many concede that it, too, could become a beacon for hate groups.
Recently, the issue has made headlines from Ukraine to Taiwan.
But nowhere have the questions about the physical markers of unwanted pasts — first Nazi, then Communist and, lately, colonial — played out as long as they have in Germany.
Though driven by necessity, this pragmatic solution now gets credit for preserving for posterity the pathetic bleakness and soullessness of Hitler’s architectural vision.
It has not aged well, turning from shades of white to brown as decades have gone by.