In 1930, many modern artists expressed their upheavals visually, even before they could fully comprehend them in words. In four essays, Marie Luise Knott urgently questions what new erosion landscapes the four artists Erwin Piscator, Karl Wolfskehl, Bertolt Brecht, and Paul Klee traversed that year—when Piscator's electrifying theater went dark, when Wolfskehl's secret Germany disintegrated, when Bertolt Brecht held a mirror up to society in the increasingly radical world of street demonstrations and battles in halls. And when Paul Klee expelled himself from his own art. The question of how the victory of the Nazis in 1933 was so embarrassingly easy continues to disturb. This question is all the more unsettling in light of today's crises, which so often evade us.