How could an artist’s design give form to Germany’s need to remember the Holocaust? This was the skeptical question posed by those who saw Rosh’s proposal as a “nineteenth-century” monument. Its massive dimensions, its detachment from any authentic site, and its lack of subtlety and paradoxical vagueness of purpose seemed to preclude any connection to the lives of Berliners and other Germans. Commenting on an earlier project, Dieter Hoffmann-Axthelm had feared that “reality disappears when art is put in its place.” Whenever that most painful of legacies, the extermination of the Jews, is at
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