Looking back, there is something ominous to the study. Prinzhorn identified a style that was to be named, over a decade later with the rise of National Socialism in Germany, as "degenerate" (Entartete). Such works were seen as opposed to an "original type", to a mythical figure of Germanness, a normality of supposed strength, resolution, and health. Exhibitions, most notably in Munich in 1937, were set up to name and exhibit these "degenerate" works. Artists such as Paul Klee and Wassily Kandinsky were featured, alongside hundreds of others, even Prinzhorn’s patients. As the art historian Stephanie Barron has argued, “one quarter of the illustration pages in the [exhibition’s] guide featured reproductions of the work of these psychiatric patients, taken from the famous Prinzhorn Collection”. The insane and the avant-garde were here equated, both equally pathologized. Millions of visitors flocked to the shows, and there followed the enforcement of policies of censorship, persecution, and oppression on a mass scale.