.mw-parser-output .hidden-begin{box-sizing:border-box;width:100%;padding:5px;border:none;font-size:95%}.mw-parser-output .hidden-title{font-weight:bold;line-height:1.6;text-align:left}.mw-parser-output .hidden-content{text-align:left}You can help expand this article with text translated from the corresponding article in German. (July 2020) Click [show] for important translation instructions.
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A German citizens' group unsuccessfully advocated for the project in 1978 but the building, which held deep German national identity symbolism prior to reunification, required unavailable political will. Rita Süssmuth, the newly-elected President of the Bundestag, expressed interest in the project in 1989, precipitating its approval.[1] The project had been rejected three times across six Bundestag presidents and 24 years before its 1994 vote for approval. Wrapped Reichstag mounted in 1995 for two weeks as 100,000 square meters of silver fabric draped the building and fastened with blue rope. The Reichstag, which had not been in use, was later reconstructed for parliamentary use in 1999.[2] Christo described the Reichstag wrapping as autobiographical.[3] It became symbolic of unified Germany and marked Berlin's return as a world city.[4]The Guardian posthumously described the work as the pair's "most spectacular achievement".[5]
Fineberg, Jonathan David (2004). "The Reichstag". Christo and Jeanne-Claude: On the Way to The Gates, Central Park, New York City. Yale University Press. pp. 48–50. ISBN978-0-300-10405-9.
Jelavich, Peter (1995). "The Wrapped Reichstag: From Political Symbol to Artistic Spectacle". German Politics & Society. 13 (4 (37)): 110–127. ISSN1045-0300. JSTOR23736267.
Henning Ritter: Die Liebe der Massen zur Kunst. Christos Triumph. 1995. In: Die Wiederkehr der Wunderkammer. Über Kunst und Künstler, Hanser, Berlin 2014, S. 240–247.