ABSTRACT
In London, it appears to have been the gallerist and dealer Noel 'Peter' Norton who first articulated the idea of a British response exhibition to Degenerate Art. Comparing the organizers' correspondence with the final Twentieth Century German Art exhibition catalogue, it is clear that a huge number of the ultimate exhibits were identified and secured during the earliest planning stages, namely during November 1937. The importance Paul Westheim placed on the London exhibition as a chance to rebuild his professional status in exile is further emphasised by the events that followed his 6 April letter to Read. This letter, ending his involvement with Twentieth Century German Art, in fact crossed a letter of the same date from Read to Westheim, in which Read set out further planned changes to the exhibition's public face. The archives illustrate that Westheim was incensed by Read's letter.
