There isn’t, in other words, a clear line between “irony” and “homage” in Krafft’s work, and it’s a mistake to assume, as many members of the art world apparently have, that an ironic artistic appropriation of Nazi symbols safely amounts to an anti-Nazi critique. As Susan Sontag pointed out in her 1975 New York Review of Books essay “Fascinating Fascism,” one of the consequences of the kitsch or campy use of Nazi imagery, even if it is intended critically, is that it can normalize those images, desensitizing us to their power by mingling them with more banal ones. “Shocking people…also means inuring them,” she wrote of the famous poster of Robert Morris half-naked wearing a Nazi helmet, “as Nazi material enters the vast repertory of popular iconography usable for the ironic commentaries of Pop Art.