ABSTRACT
This chapter seeks to investigate in more detail the relationship between the Third Reich and the London exhibition. It helps the reader to understand how far the show's organization was indeed detached from National Socialist Germany. Charlotte Weidler, Irmgard Burchard, Noel Norton and Hoffmann provided a physical link between National Socialist Germany and the New Burlington Galleries during the planning stages of Twentieth Century German Art. There is evidence that having been convinced to restart work on Twentieth Century German Art in the spring of 1938, so Paul Westheim once again made his collection available to the exhibition. Two further pieces of evidence support the argument that the work exhibited in London as 'Men on a Bridge' was Manner auf der Strabe am See from the Alfred Hess collection. With the knowledge that the London organizers were able to obtain works from the Hess collection in Cologne, it becomes possible to identify further lenders from within Germany to Twentieth Century German Art.
