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There’s a photograph in the Bern exhibition of that show. Like “Gurlitt: Status Report,” it recounted the Nazi campaign against modernism. I looked around at the visitors in Bern studying the wall texts explaining the Nazis and art. The museumgoers in the photograph, wearing pillbox hats and baggy suits, were doing the same. Did I mention that Kirchner studied with Hildebrand’s father at the Technical University in Dresden. The Gurlitts were distinguished writers, art historians and painters. Hildebrand’s grandfather, Louis Gurlitt, painted plein-air sketches in the 19th century, some very beautiful ones. Cornelia Gurlitt, Hildebrand’s sister, was an artist in the Expressionist orbit of the Blue Rider group, influenced by Chagall. Cornelia’s drawings in Bern and Bonn are touching and urbane. She turns out to be another casualty, committing suicide in 1919, pregnant with the child of a married lover, the art critic Paul Fechter. Inconsolable, Cornelia’s father blamed her death on, of all things, the influence of the Lithuanian Jews of Vilnius, where Cornelia had volunteered to work as a field nurse on the Eastern Front. The fact is, it’s not really a collection, not in the true sense of the word. It’s a dealer’s inventory, this and that, about as curated as the cosmetics counter of a department store. Buying for Hitler, Hildebrand had a blank check and no scruples, obtaining works by Delacroix and Fragonard, Seurat and Courbet, sometimes to fill gaps in German museums left by the elimination of modern art, skimming off what he wanted to keep or sell. He acquired a Paul Signac river scene; watercolors by August Macke; horses in a landscape by Franz Marc; a Monet of Waterloo Bridge; a Millet, a Boucher, some beautiful prints and drawings by Kollwitz, Munch, Liebermann and Menzel. Of the 1,500 Gurlitt works, hundreds are family heirlooms by Louis and Cornelia; hundreds are Expressionist pictures and trace back to German museums; hundreds more, mass-production prints, have no real value. So we’re talking 100 or maybe 200 works whose provenance, or previous ownership, may be a legitimate matter of debate and inquiry — ones possibly looted or acquired at forced sales by Jewish owners. Authorities announced earlier this month that they had identified the former owner of a portrait of a young woman by the 19th century French academician, Thomas Couture. I spent a few minutes pondering it in the Bonn show (whose subject is mostly Hildebrand). The work belonged to Georges Mandel, France’s interior minister in 1940.