This issue 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. Special topic contributors. Konstantin Akinsha, Meike Hoffmann, Andreas Huyssen, Lawrence M. Kaye, Olaf Peters, Jonathan Petropoulos, Anson Rabinbach, Avinoam Shalem, Julia Voss, Amy Walsh

Stirring paintings, colourful picture collages made from countless scraps of paper, moving photo collages - the art of Tammam Azzam (*1980 in Damascus) is multi-faceted, political and topical. The publication provides a comprehensive overview of the oeuvre of the Syrian artist and describes his career over the past 20 years. Twenty years of the life and work of Tammam Azzam - from Syria and Damascus via Dubai to Delmenhorst and Berlin, where the artist has lived and worked since 2018. The volume Bilder ohne Namen / Untitled Pictures traces Tammam Azzam's life and his art, from the early reduced paintings via the digital photomontages and the large-format pictorial collages to his latest acrylic pictures. Azzam's iconic pictorial inventions engrave themselves into our memory.

Table of Contents: D. Piguet-Panayotova: The Attarouthi Chalices - A. Bosselmann-Ruickbie/Y. Stolz: Ottonischer Nimbus oder byzantinischer Halsschmuck? Zur Goldenen Madonna und zehn trapezoiden Emails auf dem Nagelreliquiar und dem Theophanukreuz im Essener Domschatz - Y. Stolz: Kaiserlich oder burgerlich? Ein Anhanger in Munchen, fruhbyzantinische Diademe und anderer Hochzeitsschmuck -M. Angar: Vom Argyrokastron zur Ecclesia argenti. Uber die architektur-imitierende Silberschmiedearbeit im Tesoro di San Marco in Venedig - M. Grunbart: Die byzantinischen Metallstempel im British Museum.

Facing theWall explores the ways in which the IsraeliWest Bank barrier has been used as a canvas on which artists, whether Palestinians and Israelis or foreigners, display their work. The different cultural arenas on either side of the wall dictate and give impulses to different modes of expression and uses of visual vocabulary; this tension is reflected in the layout of this book, which displays works from either side of the wall alongside each other.