Can the legitimacy of Werner Haftmann’s (1912–1999) historiographical and curatorial work, who is considered one of the most influential German promoters of modern art in the post-war period in the Federal Republic of Germany, be questioned? Did Haftmann’s personal and professional associations with the Nazi regime before and during World War II leave traces in his later work and career?

The article considers Werner Haftmann’s art historiography and curatorial program influenced by his biography, education, and early professional activities during the 1920s and 1930s. His dogmatic and conservative approach emerged during the student protests of 1968, in which younger generations demanded the democratization of culture. Therefore, it is argued that this aspect of Haftmann’s background should be considered as a starting point to reassess his contribution to the canonization of 20th-century Western art history. 

The article describes Haftmann’s biography and career focusing on his most important curatorial experiences, namely serving as a co-curator of the first ‘documenta’ in Kassel (1955) and as the first director of the Neue Nationalgalerie in Berlin (1967–1974), and analyses the conceptual aspects of Haftmann’s historiography of modern art in his latest book, Verfemte Kunst. Bildende Künstler der inneren und äußeren Emigration in der Zeit des Nationalsozialismus. This book, which was commissioned by the German government and published in 1986, can be interpreted as Haftmann’s final effort to portray select German painters and sculptors who remained in Germany during World War II as victims of the Nazi regime. In doing so, he equated these so-called “internal emigrants” with those who had to flee. Finally, the article demonstrates that, despite enjoying institutional support, Haftmann’s art historiography and curatorial work were strongly contested by younger art historians and artists.