Rethinking Provenance Research

213 What, in Germany in 2018, is the state of research into the provenance of expropriated cultural property within the context of National Socialist (Nazi) persecution? How have we arrived at this situation? What remains to be done? These three questions determine the structure of this essay, which looks exclusively at public institutions; that is, to the greatest possible extent it steers clear of the realm of private collectors and the art trade, including auction houses and art dealers. The focus here is primarily on the German Bund (the national government), Länder (states), and Kommunen (local authorities), and our thesis concludes that we need to reflect more intensively on the premises, structures, and procedures in these areas. Do we—as art historians and provenance researchers—have at our disposal the research infrastructure that is necessary for us to meet the current and forthcoming challenges? Are we capable of dealing effectively with the contexts of injustice relating to acquisition and translocation processes? Let us begin the discussion with a review of the developments that have—and have not—taken place up to now.