This compendium of 20th-century German art, organized by Christos M. Joachimides, Norman Rosenthal, and Wieland Schmied, was originally designed for the Royal Academy of Arts, London. The show had placed its bets on persuading the British public of the accuracy of its arguments with a superb sculpture and painting exhibit. The original assembly of these exhaustively viewed little masterpieces was the only convincing argument against the roaring criticism of the show in Stuttgart, where several pieces on loan had been either exchanged for lesser works or withdrawn. The criticism centered on the