Both your editorial (“On to the Gates of Death with Song,” No. 80, July-August 2008) and Brian Sewell’s quote from Evening Standard in one of the banners in the same issue give the Chapman Brothers’ “Fucking Hell” a bit too much of a benefit of the doubt for my taste. This remake of “Hell,” which was lost a few years back (see my “The Great Fire of Leyton,” June 28, 2004), suffers from the same conceptual problem as the original (see my “Apocalypse When?” September 23, 2000, and “Hackencreuz,” September 30, 2000). Namely, both works identify the monstrosity of the human species with Nazism. Nazis deserve every form of contempt, but much has happened since World War II that is even more horrendous than anything Nazis managed to come up with. Both “Hell” and “Fucking Hell” are thus nothing but copouts, and the Chapmans must be made to face their singular blindness. After all, art criticism is not only about art, but also about art’s social and historical context.