Each of the shows focuses on a different aspect of the Third Reich’s policies on art. The Bern exhibition, “Degenerate Art, Confiscated and Sold,” opens on Thursday. Its focus is on works acquired as part of the 1938 law that allowed the Nazis to seize so-called “degenerate” art, mostly Modernist pieces viewed by Hitler as un-German or as Jewish.

In Bonn, works in “Nazi Art Theft and its Consequences” will go on display on Friday. Most of the art in the Bonn show is suspected of having been wrongfully taken by the Nazis from its Jewish owners and the ownership history of many pieces on display is not yet clear.

Last week, researchers working with Project Gurlitt, the team of art historians and provenance researchers tasked by the German government with establishing the original ownership of works in the collection, identified a Thomas Couture painting as having belonged to Georges Mandel, a Jewish French politician.

The work, “Portrait of a Seated Young Woman,” was the sixth to have been identified, thanks in part to the restoration team in Bonn, which was readying it for the exhibition. They noticed a barely detectable repaired hole in the canvas, at the level of the young woman’s chest, a detail which had been recorded in an initial claim filed after the end of the war.

“The fact that the researchers have been able, through their meticulous and unstinting work, to identify the painting by Thomas Couture as Nazi-looted art demonstrates once again how important it is not to let up in our efforts in the field of provenance research,” Monica Grütters, Germany’s culture minister said in a statement.

News of the collection’s existence, first reported by Focus magazine in November 2013, spurred Germany to intensify efforts to establish provenance, following intense criticism for having kept the works secret for months after their initial discovery by tax authorities in February 2012. But three years after research efforts began, researchers had established the original ownership of only five works.