One artist's inclusion in this exhibition led him to depict its major sponsor being swallowed up by skeletons "in Hell," and it was cluttered with various plaques like the one describing how "the Negro becomes the racial ideal" next to a work by Otto Mueller.
This event's organizer scattered reproductions of his work showing four nude women on a bench, The Four Elements, throughout its floor plan, which caused viewers to frequently collide with protruding genitalia in the "anti-woman" room. This event was promoted using an image of The New Man, a flattened, moai-like sculpture of a stone head by Freundlich, on the cover of its catalog. One artist's inclusion in this exhibition led him to depict its major sponsor being swallowed up by skeletons "in Hell," and it was cluttered with various plaques like the one describing how "the Negro becomes the racial ideal" next to a work by Otto Mueller. Featuring multiple pieces by artists such as Grosz, Dix, Nolde, and Kirchner alongside The Twittering Machine by Klee, it centrally showcased works of New Objectivity, The Bridge, and Bauhaus often hung at odd angles or without frames. Organized with the aid of the Combat League and seeking to venerate nationalist romanticism, FTP, identify this 1937 art show organized by the Nazi party to illustrate examples of the namesake artistic decadence.
This event's organizer scattered reproductions of his work showing four nude women on a bench,
{Degenerate} Art or {Entartete Kunst}