With the narrative of the "ban on art," many German painters and sculptors constructed a one-sided image of themselves as persecuted artists after 1945. Often, the mere fact of having been represented by only one work at the "Degenerate Art" exhibition was sufficient justification. The reality that most artists remained largely untroubled and even benefited from public commissions was overlooked. After the war, it quickly faded from memory how the everyday life of art was actually organized under the regulations set by the Reich Chamber of Fine Arts. What were the working conditions for artists and dealers? Was collecting modern art prohibited? This book for the first time exemplarily addresses these legal aspects of the art history of National Socialism.