Against the historical backdrop of expansions of the notion of sculpture, one could think that the sculptural discipline has become defined by its near arbitrary malleability, since practically anything can be construed as sculpture. Yet there seems to be a revived interest in the history of sculpture, especially traditional techniques, which often appear appealing, even radical, in the age of the Internet and social media.

“Crimes against humanity,” especially genocide, have been excluded from amnesty since the Nuremburg Trials. On a cultural level, oblivion by decree becomes an obligation to remember. This reversal is well-intended, but it opens up critical questions: Can memory be permanently established? Is it possible to maintain it in a monument?