German commemorative culture is clearly in flux. Over the last year or so, a series of seemingly never-ending controversies have made it abundantly clear that, more than seventy-five years after the end of the Second World War, the memory of National Socialism and the Holocaust is not only very much present in contemporary Germany but also remains deeply contested. The list of controversies is familiar to everybody who has followed German public debates over the last three years: first the debate over the planned appearance of the Cameroonian philosopher Achille Mbembe at the 2020 Ruhr-Trienale in the spring of 2020; then the publication of the German translation of Michael Rothberg's book Multidirectional Memory in March 2021 and the heated controversy around A. Dirk Moses's “catechism” blog article a few months later; and finally, the recent debate about antisemitism at the documenta art exhibition curated by an Indonesian artist collective.
