In the first chapter on the German militarys unlikely function as an incubator of modernist art and in the second chapter on Adolf Hitlers advocacy for eugenic figurative representation embodying nostalgia for lost Aryan racial perfection and the aspiration for the future perfection of the German Volk, Maertz conclusively proves that the Nazi attack on modernism was inconsistent. In further chapters, on the appropriation of Christian iconography in constructing symbols of a Nazi racial utopia and on Baldur von Schirachs heretical patronage of modernist art as the supreme Nazi Party authority in Vienna, Maertz reveals that sponsorship of modernist artists continued until the collapse of the regime. Also based on previously unexamined evidence, including 10,000 works of art and documents confiscated by the U.S. Army, Maertzs final chapter reconstructs the anarchic denazification and rehabilitation of German artists during the Allied occupation, which had unforeseen consequences for the postwar art world.