This essay argues that iconoclasm serves as the visual tool of choice for Jochen Gerz and Esther Shalev-Gerz in their Memorial Against Fascism (1986) and for Horst Hoheisel in his Negative Form (1987). The West German historians’ debate of the late 1980s established an image prohibition by framing the representation of the Holocaust as an unimaginable and sacred event. The Counter-Monuments rely on this ban on images. They attack monumentality and visibility as both fascist and capitalist characteristics, designated as such during the Cold War. The essay argues that the formal choices inherent in conceptualizing these two Counter-Monuments comprise familiar historical modes of iconoclasm. It ultimately questions the need to rely on iconoclasm in the Counter-Monuments and contemporary German memorialization of the Holocaust.

中文翻译：

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Monumental Attack：Jochen Gerz 和 Esther Shalev-Gerz 以及 Horst Hoheisel 两部作品中德国反纪念碑的视觉工具

本文认为，对于 Jochen Gerz 和 Esther Shalev-Gerz 在他们的《反法西斯主义纪念碑》（1986 年）和 Horst Hoheisel 的《否定形式》（1987 年）中，偶像破坏是首选的视觉工具。西德历史学家在 1980 年代后期的辩论通过将大屠杀的表现设计为不可想象的神圣事件，确立了图像禁令。反纪念碑依赖于对图像的禁令。他们将纪念性和知名度攻击为法西斯主义和资本主义特征，在冷战期间被指定为这样。这篇文章认为，概念化这两个反纪念碑所固有的正式选择包含了人们熟悉的破坏偶像的历史模式。它最终质疑了在反纪念碑和当代德国对大屠杀的纪念中依赖偶像破坏的必要性。