Abstract
Perhaps the most astonishing aspect of the postwar artistic situation in Germany is its complete lack of direct response to the conditions of the time. We may assume that the preponderant interest in various forms of abstraction, chiefly abstract surrealism and abstract expressionism, represents an attempt to escape from the unpleasant realities of a bombed out world. At the same time, we must contend with a considerable quantity of middle-of-the-road painting and sculpture, pleasant subjects done in a pleasant manner, that clutter the annual exhibitions of Kunstvereine throughout Germany. In their own way these also fall into the category of refusing to face reality.
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