Abstract
Scholars often place Gerhard Richter alongside Anselm Kiefer and his mentor Josef Beuys as one of the central painters in postwar Germany. Richter's work resonates with the concerns of the postwar generation, namely, memory and representation, the affinity of art with death or violence, and issues surrounding the postmodern visual arts. Thus most scholars have viewed his cycle on the Red Army Faction (RAF), October 18,1977, as yet another intervention into the politics of memory and memorialization that also shifts focus from the Third Reich and the Holocaust to another more recent uncomfortable chapter in German history.1 My work on Richter, however, follows the precedent of Robert Storr, curator of painting and sculpture at New York's MoMA, who offers a dialec tical and political reading of Richter's series.2 Like Storr, I view these paint ings as principally concerned with the individual in the contemporary public
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