Holocaust memorial landscapes in Germany encompass a large group of commemorative works dealing with the outdoor built environment. Most often these memorials attempt to keep the memory of Holocaust victims alive through dissemination of this memory to the public. Theory Since the end of World War II, there has been a question as to how one can adequately commemorate the victims of the Holocaust. For a time, it was often regarded with a sense of amnesia until memorialization efforts emerged. Holocaust memorials in Germany face the difficulty of commemorating the victims of a crime it has itself committed. American feminist historian Claudia Koonz evaluates this difference between memorializing the Holocaust as the perpetrator, rather than the victim. According to scholar James E. Young, Holocaust memorials today have an anti-redemptive nature, reminding visitors of the horror of the Holocaust. These "countermonuments" work to bring events of the past into present awareness rather than relegate them to the past. These same subjects of cultural amnesia and remembrance of the Holocaust appear in the works of other post-Holocaust artists, such as the German artist Anselm Kiefer, and writers such as Romanian poet Paul Celan. Case studies Multiple former concentration and labor camps have undergone redesigns to create memorial landscapes. Bergen-Belsen One of the first Holocaust memorial landscapes to come into being was at the Bergen-Belsen concentration camp in Lower Saxony, northwestern Germany. Efforts to establish a commemorative landscape here began shortly after the end of World War II. The core of the design comes from German landscape architect Wilhelm Hübotter who worked on the design in 1945 and 1946. He was removed from the project as his design, featuring native-only plants and references to Germanic burial mounds, was seen as being too in-line with national socialist ideals of a pure German landscape. Hübotter's design was, however, successful in its rejection of the beautification of the site, which was seen as inappropriate to the commemoration of acts of atrocity. The realized landscape features smaller burial mounds where mass graves exist. Each mound features a stone plaque noting how many thousands of people are buried within. A path links these graves with a commemorative obelisk and a freestanding, inscribed wall at one end of the site. Critics, such as Joachim Wolschke-Bulmahn, claim that the design still engenders a subordination of the commemoration to the landscape itself, therefore playing into the national socialist ideals which caused