Recently, while setting up an informational booth for the local elections, Agnes Krumwiede, a city councilor from the Green Party in Ingolstadt, was surprised to find that the public's attention was drawn not to the usual political issues, but rather to an artwork in the mortuary hall at the West Cemetery. The significant focus was on a monumental 'Gross Mortuary Dance' fresco by Oskar Martin-Amorbach, painted between 1934 and 1936. Known to every child in the city, Krumwiede expressed her personal feelings about the fresco, describing it as 'strange' and acknowledging its emotional ties within the community.

Oskar Martin-Amorbach, who was a member of the NSDAP, was once considered a leading figure in the Nazi art scene, and several of his works remain present in Bavaria. The fresco in question is already part of the cultural fabric of Ingolstadt, but its links to the Nazi past have triggered a debate among local policymakers. The city council is now deliberating whether to address the controversial history of this artwork, as well as the appropriateness of its display in a public space.

The discussion embodies larger historical questions surrounding artworks associated with the Nazi regime. As public awareness increases about the implications of such art, including its impact on collective memory and cultural heritage, the council's decisions could set a precedent for how similar cases are handled in the future. This incident also reflects a growing trend where societies reassess symbols and artworks that are connected to oppressive regimes, indicating the ongoing struggle between cultural heritage and social responsibility.