Dwarfed by a bank of towering trees, in a scene reminiscent of the Northern European Romantic tradition, a tiny building stands in a wooded clearing. It is the Berghof, Hitler’s mountain retreat, transplanted from Berchtesgaden to Mount Purgatory, which rises up from the forest floor. The house has been daubed with graffiti, ’tagged’ with the words Urizon, Los, Luvah and Urthona, the four Zoas from William Blake’s unfinished 1797 poem of the same name. Quinn’s choice of this oblique reference to the ambiguous association of myth and Christianity, and the otherworldly, fairy-tale setting he has fashioned for a sickening reminder of an all-too-real real person, is intended to ask the question: what happens when myth replaces history?

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