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Walter Dexel, the author of this rather bad-tempered critique of the Bauhaus’s popular reputation, was not by any means a reactionary, nor did he represent a countertendency to modernism in Germany. What this potted biography indicates is that Dexel was an active participant in the world of contemporary art and design in Germany, a theorist and practitioner at the forefront of radical innovation, and a full supporter of the values that were enshrined in the post-1923 Bauhaus manifestos. He was also a pioneer in what would now be described as the study of material culture and therefore well placed to assess the impact of the Bauhaus on design. As such, Dexel’s criticism is not directed fundamentally against the Bauhaus itself but against an uncritical and undifferentiated view of the college’s reputation. Dexel attacks the exaggerated and unjustified celebration of the Bauhaus as a unique source of modernist design and laments, in particular, the development of a concept of “Bauhaus style.”