In ‘Uproar in Augsburg’ two generations of German artists from the postwar period come face to face, each represented by major works from the collections of the Pinakothek der Moderne. What unites them is a leaning towards a kind of figurative painting that does not shy away from personal and political comment, placing it in opposition to the approaches of conceptual art and minimal art. This explicit interest in the medium of painting while critically questioning content and style was first evident in the generation of artists born before the end of the war: Georg Baselitz, Jörg Immendorff, Markus Lüpertz, and A. R. Penck. The way these artists radically changed and redefined painting had an impact on the following generation, loosely defined as the ‘Neue Wilde’ (meaning: ‘new wilds’), including Walter Dahn, Rainer Fetting, Markus Oehlen, and Salomé, who adopted an even more

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