The article discusses how Canadian artist Vera Frenkel explores the history of Nazi art theft through the work Body Missing, which is a six-part video installation and a web project. With a brief introduction to the context of Hitler's personal museum – an abandoned salt mine where he hid seven thousand stolen works of art – Vaughan discusses how Frenkel invites viewers to reconsider the legacy of Nazi Germany. He then analyzes the challenges that Frenkel faced when she attempted to install her show in the old salt mine. In the end of the article, he discusses the response from viewers during the opening, who could relate her show to their personal experience.