Throughout history every famous wall has encouraged people to come to terms with its development and function. A lot has been written about the repressive aspects of the Berlin Wall in the fields of politics and economy. This thesis takes into account the various interpretations of the Wall by both eastern and western artists, who have made the border installations, before and after their collapse, subject of their work -- in its existence and absence alike.In the Cold War era, Berlin was location of the clash of two societies driven by fundamentally different world views, each striving to set an example by establishing their own system on their respective grounds. The arts played an important role in this conflict: In Eastern Germany the Sozialistischer Realismus was declared by the government the only worthy way of artistic expression, in Western Germany, in contrast, the abstract arts, associated with freedom and liberty, thrived. This thesis looks at the reflection of the Berlin Wall in the fine arts, illustrating different approaches by eastern and western artists and contrasting both system-critical and system-comformist imagery. The final part of the thesis discusses the appropriation of the Wall by means of artistic action. Starting with conceptual art of the 1960s that used the Wall as both subject and canvas the wall itself had, with its ongoing development towards the Grenzmauer 75, gradually been transformed into an extensive body of art and is now, after its collapse, considered a global icon of change and freedom.