link theories on trauma with the interpretation of memorials’ negative spaces as they take shape differently in early and later memorial projects. The motivation for focusing on Germany and on United States is reasonable especially since Germany’s national memorial is designed by American Jews. However, a focus on, for example, Israel, could have been just as reasonable, given that Israeli artists are also widely represented on Germany’s memorial landscape, as for example Micha Ullman’s Empty Library in Bebelplatz, Berlin, Esther Shalev and Jochen Gerz’s Hamburg Monument against Fascism, Dani Karavan’s Memorial to the Sinti and Roma, or Menashe Kadishman’s Shalekhet (Fallen leaves) at the Jewish Museum in Berlin. In addition, while the author sheds lights on lesser known works, she inadvertently omits discussions of more wellknown ones which could have added value to her thematic approach. Nonetheless, these omissions do not take away from the depth and quality of this study – a sound engagement with underrepresented works of public art, which are eloquently described and contextualized within an art historical reading. The study is a welcome contribution to the field of Holocaust memorials and a must-read for anyone interested in this subject.

中文翻译：

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罗伯·沃特斯，《思考黑色：英国》，1964–1985

将创伤理论与纪念馆负面空间的解释联系起来，因为它们在早期和后期的纪念项目中形成不同。关注德国和美国的动机是合理的，尤其是因为德国的国家纪念碑是由美国犹太人设计的。然而，考虑到以色列艺术家在德国的纪念景观中也有广泛的代表，例如柏林倍倍尔广场的 Micha Ullman 的空图书馆、Esther Shalev 和 Jochen Gerz 的汉堡纪念碑，关注以色列可能同样合理反对法西斯主义，Dani Karavan 的辛提人和罗姆人纪念碑，或 Menashe Kadishman 在柏林犹太博物馆的 Shalekhet（落叶）。此外，虽然作者阐明了鲜为人知的作品，她不经意间省略了可能对她的主题方法增加价值的更知名的讨论。尽管如此，这些遗漏并没有影响这项研究的深度和质量——对代表性不足的公共艺术作品的良好参与，这些作品在艺术史阅读中被雄辩地描述和语境化。该研究是对大屠杀纪念馆领域的一项受欢迎的贡献，是对这一主题感兴趣的任何人的必读之书。