Why Ian Nairn, outspoken critic of postwar modernism, is as relevant as ever
An Englishman, middle aged, portly, in tie and suit, pushes his way through a beery crowd in 1970s Munich. The young Germans in the posthippy uniform of jeans and straggly facial hair and, swaying, yelping, slurrily intoning a sort of festive yodel, with a note of rising mockery, momentarily engulf him. He reappears, is furious,