Isabel Enzenbach starts her essay with an observation from a school class in which the students found a completely unintended meaning in an early twentieth-century depiction of a capitalist and a worker. With examples from popular stickers and postcards from the turn of the century until the present, she argues that the visual imagery of post-war antisemitism undergoes a significant change in both its reception and in the new clichés it produces. But even if some images that are deeply rooted in European cultural history have lost potency for many younger viewers, they nevertheless turn out to be adaptable and versatile. Some visual elements are now taking aim at new groups, targeting them for discrimination and visual defamation.