In 1995, as a Fulbright professor, I taught a seminar on “culture andinternational order” at Humboldt University in Berlin. There Ireached the conclusion that, in order to analyze Kultur in Germany,one also had to take into consideration the work of Schweinerei. In thefive years between the opening of the wall and my seminar, there hadbeen an explosion of interest in the concept “Kultur”—defined quiteconcretely in public discourse as an element that united (or divided)East and West Berliners, or as a substance that had been damagedduring the cold war and now needed restoration.1 Irrespective of thespeaker, Kultur was always something good, a positive ordering. Onenever needed less Kultur. Either one argued, as a proponent of Multikulti,for more of them, more cultures, or, as a monoculturalist, formerely better (more refined, more pure) Kultur and the value of adistinct German culture. The decision reached in 1991 to move thecapital from Bonn to Berlin as a means of unifying Germans also casta kind of Klieg light on Kultur, as the relocation itself drew manynew visitors, who, having only construction sites of the future capitalto view, spent the rest of their time enjoying Berlin’s numerous (oftenduplicate) cultural institutions and industries for the first time.2 At thisvery moment of general good will, inclusiveness, and prominence,these Berlin cultural institutions had the most to lose (or gain), asministers of the newly unified state promised more selective supportfollowing a round of rationalizations if not eliminations.