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The arc of this book has a long trajectory. It began with the History of Art Department at University College London, which invited me to give the Tomás Harris Memorial Lectures in 2003. Those talks were the genesis of this book, and I am grateful for the kind invitation as well as the reception of my colleagues at UCL. In particular, I thank Warren Carter,Tamar Garb, Tom Gretton, and Helen Weston. Fred Schwartz, as always, provided me with the critical feedback and support then and at subsequent stages of the project. I express my gratitude for the UCL faculty’s generous time, critical comments, and encouragement. Subsequent individuals and audiences contributed important commentary at key moments in the development of the book. Many editors and readers were involved with the various manifestations of this project, and I am indebted to all the anonymous readers, in particular the careful attention of Matthew Biro, Geoff Eley, Stephanie Fay, and Jonathan Wiener. I am grateful to the many audiences that stimulated my thinking. Specifically, I thank the organizers of the Jean and Harold Gossett Lectures at the University of Chicago, where crucial parts of the opening chapters were presented. At the University of Chicago, I am indebted to ongoing conversations with Christine Mehring and Rebecca Zorach and their efforts to keep the Chicago community of art historians lively. Other friends and colleagues in Chicago helped in multiple conversations, small and large, and I especially thank Jill Bugajski, Jay Clarke, Holly Clayson, Stephanie d’Alessandro, Hannah Feldman, Christina Kiaer, Jeannette Trembley, and David Van Zanten. Stephen Eisenman offered particular support as a friend and a critical voice. ACKNOWLEDGMENTS 211 Debra Mancoff has been there to help every step of the way. At DePaul University, I am grateful for my colleagues and friends, especially Joanna Gardner-Huggett, Matthew Girson, Trish Kelly, and Liz Lillehoj for their comments on specific parts of the argument as well as the advice and patience of Anne Bartlett, Tom Donley, Steve Harp, Louise Lincoln, Jerry Mulderig, Darrell Moore, Kevin Stevens, and Julia Woesthoff. Susan Solway always managed to find the right stipend or the right word at the right time, which was more help than she knows. I thank Dean Charles Suchar and the College of Liberal Arts and Sciences for the frequent summer grants that funded many of my research trips. At a crucial stage of my research, this project was supported by a research leave sponsored by DePaul’s University Research Council as well as by a grant from the U.S. Holocaust Memorial Museum Center for Advanced Holocaust Studies. The staff and many colleagues there went above and beyond to assist my work. Special thanks to Lisa Yavnai and Traci Rucker for solving all problems, as well as to Martin Dean, Jürgen Matthäus, Marc Masurovsky, and Suzanne Brown-Flemming for discussions. The team around the geographies of the Holocaust project, while not directly involved with the arguments in this book, nevertheless gave constant intellectual stimulus and friendship during the past few years. My thanks to Robert Ehrenreich and his indefatigable efforts on our behalf and, especially, the leaders Tim Cole, Alberto Giordano, and Anne Kelly Knowles. Other fellows at the Center for Advanced Holocaust Studies (CAHS) were also of crucial help, notably Daniella Doron, Jennifer Geddes, and Jonathan Judaken . Special thanks to Noah Shenker and Eran Neuman for helping make the CAHS dialogue a decidedly cultural one. Finally, my time in Washington , D.C., would have been impossible without the extraordinary kindness of my hosts, Sheila Jaskot and Bill Wax, who, through it all, somehow kept a smile. I am further indebted to the College Art Association’s Millard Meiss Publication Fund and its selection committee for the generous grant that helped support the reproduction of images. Further support was also given by DePaul’s University Research Council. Much of this research was done in archives in Berlin, Munich, and Nuremberg.The staff at the Senatsverwaltung für Wissenschaft, Forschung und Kultur, Berlin, were extraordinarily generous in opening files and space to me, and I am also grateful to the fine work of the Berlin Landesarchiv.The Stadtarchiv Nürnberg became a crucial site for research with its ever-friendly staff, and I appreciate the continued interest in my work from colleagues at the Dokumentationszentrum des Reichsparteitagsgelände, especially Eckart Dietzfelbinger, Martina Christmeier, and Hans-Christian Täubrich. My ACKNOWLEDGMENTS 212 [3.128.199.88] Project MUSE (2024...

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