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    <title>Descolonización del patrimonio en Puerto Rico con Rafael Capó García y Javier Arbona-Homar • Sur-Urbano</title>
    <dc:date>2026-07-03T22:56:24+00:00</dc:date>
    <link>https://open.spotify.com/episode/53hnMibTVpbKx7C0OfvhAi</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Puerto Rico: Un archipiélago que, cada año, recibe a millones de turistas. Muchos de estos visitantes llegan a un lugar que, por décadas, se ha posicionado en una ruta de consumo caribeño – un lugar famoso por fantasías tropicales de ron, cigarros, café y, más recientemente, reggaetón. Si queremos ser más específicos, el Viejo San Juan, el sector colonial de la capital de Puerto Rico, está organizado en torno a satisfacer al visitante con sus restaurantes de comida criolla, coctelerías, tiendas y una proliferación de alquileres a corto plazo. Pero este modelo termina volviéndose insostenible para quienes la habitan. Detrás de las campañas publicitarias cuidadosamente diseñadas para atraer a turistas a un destino familiar y convenientemente situado “dentro” de los Estados Unidos, se oculta una historia incómoda de guerra, racismo y represión violenta.

Hay muchas personas en Puerto Rico cuestionando el espacio público y excavando las historias que existen debajo de cada monumento, de cada estatua, de cada ciudad y su infraestructura. Una de esas personas es Rafael Capó García, el fundador de Memoria (De)Colonial – un proyecto en Puerto Rico que ofrece recorridos históricos en San Juan. Los guías interrogan los legados coloniales de la herencia y el patrimonio puertorriqueño. Esto lo hacen a través de un lente decolonial y antirracista, y el proyecto tiene como misión promover perspectivas críticas en el momento de acercarnos a un monumento histórico. Pueden conocer más de su proyecto aquí:

https://memoriadecolonial.com/

Para pensar más en este acercamiento hacia los monumentos, nos sentamos también con Javier Arbona-Homar, un profesor puertorriqueño en UC Davis quien se enfoca en el diseño y en los estudios explosivos, es decir, cómo las explosiones transformaron la política espacial de los paisajes. Pueden encontrar su libro más reciente, “Explosivity Following What Remains”, aquí:

https://www.upress.umn.edu/9781517918842/explosivity/ "]]></description>
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    <title>Don’t Just Replace Chavez—Rethink Monuments - The Atlantic</title>
    <dc:date>2026-04-15T06:59:39+00:00</dc:date>
    <link>https://www.theatlantic.com/culture/2026/04/rethinking-monuments-after-cesar-chavez-allegations/686785/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It’s time for tributes to leave the great-man theory of history behind."

[archived:
https://archive.ph/cw3O4 ]

"Almost every day, I drive along a street named after Cesar Chavez, past a mural of Cesar Chavez that shows the labor leader, who died in 1993, clutching the billowing flag of the United Farm Workers with one arm and a group of anonymous laborers with the other. For years, I’ve been struck by the work’s ardent theatricality: Chavez appears sturdy and powerful, whereas the figures look like they’ve fainted. In Los Angeles, where I live, Chavez is everywhere. Within a mile of that mural are two others. A multitude of municipal sites, both grandiose and mundane, bear his name. The transfer station downtown where I wait for the bus is named for Chavez. So is a city park in San Fernando, on the northern fringes of L.A., where a naturalistic bronze statue always looked as if it was about to break into a rally speech.

I now look on those tributes with horror and dismay. Late last month, The New York Times published an investigation that detailed harrowing allegations of sexual abuse by Chavez, including the grooming and assault of minors. Chavez’s longtime colleague Dolores Huerta alleged that he had raped her. The response has been swift: Statues, monuments, and murals of Chavez have been obscured or removed—including the bronze in San Fernando, which was wrapped up and carted away the day after the Times story ran. California lawmakers also scrapped a state holiday in his honor, replacing it with the more inclusive “Farmworkers Day.” For now, Chavez’s name still clings to libraries, schools, and streets. But this difficult process highlights all of the ways in which memorializations of the farmworker movement have missed the mark. The focus has frequently been on Chavez—at the exclusion of the many organizers and workers who helped make the UFW’s campaigns to raise working standards a success. No movement is built by one man alone.

The reassessment of Chavez coincides with a volatile debate over public memorials and the forms they take. We live in a reactionary moment: The Trump administration has resuscitated a monument to a Confederate general in Washington, D.C., and installed a statue of Christopher Columbus on the White House grounds, while generally promoting a vision that prizes the heroic and the classical. (Think: man on a plinth.)

But this is also a time when communities and designers are radically reimagining what a monument can be. In 2022, a project honoring the Navajo Nation dispensed with the usual statuary in favor of hiking trails woven around Dinétah, the territory that marks the traditional Navajo (Diné) homeland. “Some monuments are not entities that we as humans have to build,” the artist and curator Sháńdíín Brown wrote of the project, “but something that the creator has already gifted to us.” The removal—and possible replacement—of tributes to Chavez will be fraught; it will also open up possibilities.

No matter what happens next, Chavez’s vanishing profile leaves a gap that won’t be easily filled. A 2021 study published by Monument Lab, a nonprofit research-and-design studio, showed that among the top-50 historical figures most frequently honored with memorials in the United States, there is not a single U.S.-born Latino. The highly visible Chavez has therefore been an important symbol around which to rally. “He’s part of the iconography of the 1960s,” Eric Avila, a cultural historian who teaches at UCLA, told me. “Bobby Kennedy, Cesar Chavez, Martin Luther King Jr., Malcolm X—there is this canon of people we study as symbols of different social movements and symbols of that time in American history. And for Mexican Americans, Chavez became that figure.” Chavez’s fall from grace feels especially shocking today, when policy makers are targeting immigrants, and violent ICE raids are a staple of social media. “It hurts to think about the victims,” Avila said. “It also hurts to think about this gaping absence in the iconography of a movement.”

As the memorials come down, some people have called for replacing images of Chavez with those of Huerta. Muralists in L.A. and Philadelphia have already done so on existing artwork, painting over the disgraced leader with depictions of his former colleague. Huerta has publicly stated that she doesn’t want streets and buildings named after her, and that memorials should instead focus on “UFW martyrs, organizers, farmworkers, and families who sacrificed everything to build something bigger than any one person.” Huerta deserves her flowers—she was an important coordinator of the nationwide boycotts that made the UFW effective. But she’s right. Now is the moment to reconceive such tributes entirely.

And that begins with asking the right questions. “It’s not just who is deserving of a monument, but how do we commemorate, and how do we reflect history to its fullest capacity?” Paul Farber, the director of Monument Lab, told me. “If you have a vision of power that is expansive, collective, from the ground up, you will see the need to make monuments not just to the singular figure, but to put that figure in the context of how they were elevated.”

Substituting one bronze for another does not necessarily achieve that. In fact, it might even perpetuate the elisions of the past. The 1965 Delano grape strike, for example—an event that helped spark the modern farmworker movement in California’s Central Valley—wasn’t led by Chavez and the UFW; it was organized by the Agricultural Workers Organizing Committee, a union made up primarily of Filipino workers and led by the Filipino organizer Larry Itliong. Also crucial to the history of the movement was the work of Bert Corona, the founder of the activist group Hermandad Mexicana Nacional, which fought for the rights of undocumented workers—something the UFW initially resisted. (At one point, Chavez even launched an “Illegals Campaign” that encouraged union members to report “wetbacks” to immigration authorities.)

Organizers such as Corona and Itliong should certainly be remembered. (In 2024, a park in Delano was named for the latter activist, a belated recognition.) And communities will likely continue to erect tributes to such individuals, because personal histories are powerful tools for storytelling. But even those types of monuments can be designed in ways that incorporate other stories. The bronze statue of Chavez in San Fernando, for example, was accompanied by a mural that featured workers and other activists.

“Especially when we’re talking about labor and social movements,” Farber said, “how do you make room for more protagonists?” This question should be asked more broadly. Martin Luther King Jr. is the fourth-most-popular subject of monuments in the U.S., according to the Monument Lab audit; he is a potent symbol of the collective fight for Black civil rights. Yet in many places, he is depicted alone. King deserves to be honored for his work. But in focusing exclusively on him, the designers of those tributes have left out the other activists who made his gains a reality—including Bayard Rustin, who helped plan the 1963 March on Washington. A memorial based on the great-man theory of history is a tale only half told.

There are elegant ways to pay tribute to groups of people. Maya Lin’s groundbreaking Vietnam Veterans Memorial, unveiled in 1982—a minimalist, V-shaped black-granite wall cut into the land—sought to honor not an individual soldier or general but all of the war dead. (It’s powerful not just for what it does—listing names—but for what it is: a scar on the earth.) More recently, a pair of remarkable monuments to labor have taken like-minded approaches. Completed in 2020, the Memorial to Enslaved Laborers, at the University of Virginia, consists of an austere granite circle, open on one end. Carved within are the names of those who were forced to work at the institution; for people whose name remains unknown, a small line cut into the granite creates a record of their existence. And at Bryn Mawr College, outside Philadelphia, a 2025 design by Nekisha Durrett transformed a campus courtyard into a site of remembrance. The work consists of looped footpaths with paving stones that bear the names of the Black people who once labored at the college. The paths echo underground servant tunnels to which those workers’ travels were often confined. At night, some of the stones are illuminated from within, creating a sparkling, lantern effect. There are also monuments that push at the boundaries of what a monument is: the Ireichō, which first went on view in 2022, is a book that contains the name of every person of Japanese ancestry incarcerated by the U.S. government during World War II.

In 2012, President Obama traveled to Keene, California, to announce the creation of Cesar E. Chavez National Monument, which protects the bucolic 116-acre site in the Tehachapi Mountains where the UFW once maintained its headquarters. Known as La Paz, it is where Chavez is buried and his office preserved, complete with its original furnishings. It’s also—chillingly—where some of the sexual abuse is reported to have taken place. Less than a week after the Times published its exposé, two Republican senators, John Cornyn and Bill Cassidy, introduced a bill to close the park.

A better tactic would be to reimagine the monument to tell a more complete story about the farmworker movement—and about Chavez. “It’s a super complicated story, and the complexities have been glossed over,” Avila said. “It’s a good thing that we are reckoning now with the real history, which is not as pretty as we would like it to be. But that’s what history is.” In this case, the history is ongoing; farmworkers still face low pay and punishing working conditions aggravated by climate change, often laboring through toxic wildfires and extreme heat. The movement was—and is—much bigger than Chavez. It’s time the monuments caught up to that vision."]]></description>
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</item>
<item rdf:about="https://fritinancy.substack.com/p/stop-naming-buildings-and-streets">
    <title>Stop naming buildings (and streets, and parks, and ships, and mountains) after people</title>
    <dc:date>2026-03-23T20:36:48+00:00</dc:date>
    <link>https://fritinancy.substack.com/p/stop-naming-buildings-and-streets</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Eventually, inevitably, someone will decide that your well-meaning gesture was a terrible error."]]></description>
<dc:subject>nancyfriedman names naming cesarchavez sanfrancisco history heroes idols idolotry schools sfusd california parks buildings streets streetnames universityofcalifornia harvard johnharvard horacemann williampenn humans markzuckerberg priscillachan hospitals birds ruthasawa banks churches statues monuments values</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:b86a60750225/</dc:identifier>
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<item rdf:about="https://monumentlab.com/bulletin/nicaraguan-ghost-monuments-posthumous-memories-of-la-concha-acustica">
    <title>Nicaraguan Ghost Monuments: Posthumous Memories of “La Concha Acústica” - Monument Lab</title>
    <dc:date>2026-02-23T06:49:48+00:00</dc:date>
    <link>https://monumentlab.com/bulletin/nicaraguan-ghost-monuments-posthumous-memories-of-la-concha-acustica</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Over the last 40 years, Nicaragua has been a country of no lasting resonance, trapped in a cycle of impermanence and urban deconstruction where innumerable monuments, buildings, and entire neighborhoods have been demolished.1 This political fashion has been imposed by each new government in attempts to erase the memory of their predecessor. The current regime of Daniel Ortega and Rosario Murillo, who have ruled the country under an iconoclastic political dynamic since their reelection in 2007, has increased the deconstruction frenzy of landmarks across the country with an accelerated rhythm in the capital, Managua. Subsequently, their administration has commissioned a mass production of political imagery with no patrimonial value in lieu of the demolished monuments. The imposition of these new artifacts has been a key component in the political indoctrination program that has exacerbated police brutality, inequality, poverty, racism, and the suppression of education. Nicaragua remains a dictatorship where the lack of free speech and manipulation of urban spaces have intensified the need to reminisce history without any political bias. Therefore, the regime’s attempt to eradicate urban memory in order to insert its own political doctrine has created a collective resistance to oblivion."]]></description>
<dc:subject>nicaragua monuments memory policebutality inequality poverty recism suppression danielortega rosariomurillo erasure managua latinamerica 2022 oscarcaballero deconstruction</dc:subject>
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<item rdf:about="https://www.evanmapodaca.com/">
    <title>Evan Apodaca</title>
    <dc:date>2026-02-23T04:08:27+00:00</dc:date>
    <link>https://www.evanmapodaca.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Evan Apodaca is a third generation Chicano artist based in Southern California with a Bachelor’s of Fine Art from the School of the Art Institute of Chicago. Apodaca’s work has shown at the El Paso Museum of Art (2024); Museo de Arte de Ciudad Juarez (2024); Athenaeum Art Center (2024); the San Diego International Airport (2023); Best Practice Gallery (2020); The New Americans Museum (2017); the Chicano International Film Festival (2017); the Tijuana Film Festival (2017) the PBS Online Film Festival (2016); and the San Diego Latino Film Festival (2016). In 2023 he was a recipient of San Diego Commission for Art and Culture’s Far South Border North grant; in 2021 he was a recipient of the National Association of Latino Arts & Culture’s Border Narrative Change Grant; and in 2019 he was a San Diego Foundation Creative Catalyst fellow."

[See also:
https://visarts.ucsd.edu/people/grad-students/evan-apodaca.html

"Evan Apodaca is a third generation Chicano artist whose practice revolves around his ongoing multi-platform series Secret City, which deconstructs U.S. imperialism and the militarization of Southern California. This is exemplified in his video installation Monumental Interventions, which was censored from an exhibition at the San Diego International Airport in March 2023. This work uses facial motion-capture combined with testimony to create an interplay between dream-like illusion and polemic critical attack on the hyper-patriotism of San Diego's social fabric and the region's built environments. Correspondingly, in Insurgent Smokescreens Apodaca assumes the role of historian by depicting first-hand accounts of Vietnam War-era antiwar activists from Southern California. In this series, Apodaca fills the void in our collective memory of encountered struggles and hard-won victories in times of immense global conflict.

Prior to Apodaca's examination of the pervasiveness of U.S. militarism, his short animated documentary film titled Que Lejos Estoy about his own Mexican-American family, streamed nationally on PBS in 2016. In 2018 he was the Associate Producer and Animator for Singing Our Way to Freedom, an award winning feature film about musician and civil-rights activist, Ramon “Chunky” Sanchez. Apodaca received his Bachelor's of Fine Arts from the School of the Art Institute of Chicago in 2009. His work has shown at the El Paso Museum of Art (2024); Museo de Arte de Ciudad Juarez (2024); Athenaeum Art Center (2024); the San Diego International Airport (2023); the Museum of Contemporary Art San Diego (2022); Best Practice Gallery (2020); The New Americans Museum (2017); the Chicano International Film Festival (2017); the Tijuana Film Festival (2017) the PBS Online Film Festival (2016); and the San Diego Latino Film Festival (2016). Apodaca was a recipient of San Diego Commission for Art and Culture’s Far South Border North grant in 2023; a Reclaiming Border Narrative Fellow at the Center For Cultural Power in 2023; a recipient of the National Association of Latino Arts & Culture’s Border Narrative Change Grant in 2021; and a San Diego Foundation Creative Catalyst grant recipient in 2019."]

[See also:
https://www.instagram.com/evan.apodaca/
https://www.instagram.com/secretcity.socal/ ]]]></description>
<dc:subject>evanapodaca art sandiego border borders demilit militrarism secretcity imperialism us monuments</dc:subject>
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<item rdf:about="https://www.phoenixprojectnow.com/phoenix-review/blog/crypto-chiefs-and-authoritarianism">
    <title>Crypto Chiefs and Authoritarianism - The Phoenix Project</title>
    <dc:date>2025-10-31T19:43:34+00:00</dc:date>
    <link>https://www.phoenixprojectnow.com/phoenix-review/blog/crypto-chiefs-and-authoritarianism</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A statue of Prometheus has been proposed for Alcatraz. The monument to the Titan would be 450 feet — larger than the Statue of Liberty which stands at a mere 305 feet — and is planned as a tribute to American exceptionalism, no matter that the island is a sacred site for the Lisjan Ohlone people.

The story of Prometheus is one of hubris: He defied the gods to give man fire only to be punished by having his liver eaten by an eagle. Denver crypto chief Ross Calvin seems unbothered by the message the statue could send. He’s asked President Donald Trump to fund its construction, estimated at $450 million, or about about $1 million a foot. Last year, Calvin created the nonprofit American Colossus Foundation to promote projects like that of the giant Prometheus.

It would be easy to dismiss Calvin’s plans as those of a lone crank. However, respected art historian Erica Doss says the tech elite are obsessed with neoclassical forms, calling it a chapter “right out of the fascist playbook. Name an autocracy that doesn’t have a neoclassical obsession.”

Much has been written about Silicon Valley’s dramatic shift to the right. Previous generations of tech executives had been, for the most part, reliable Democrats, albeit with libertarian leanings. A younger group has fully embraced Trump, among them billionaires Marc Andreessen, Elon Musk and Peter Thiel. Even those whose support had originally been tepid, like Facebook founder and Meta chief Mark Zuckerberg, have set aside reservations and cozied up to the new president.

Nowhere has the move to the right been more pronounced than among executives in the cryptocurrency industry. Andreessen, an enthusiastic crypto investor, has been a regular guest at Mar-a-Lago, advising the president on policy and personnel. Garry Tan, an early investor in Coinbase, has publicly expressed the belief that Trump’s election would result in a tech renaissance, one that would see as many as 1500 startups created each year.

Fairshake, a crypto political action committee, became the dominant Super PAC in the 2023-2024 election cycle spending nearly $200 million to defeat crypto critics like Senator Sherrod Brown of Ohio and Jon Tester of Montana. Coinbase, led by leading Trump supporter Brian Armstrong,  has been the top contributor to Fairshake, donating $25 million in the first half of 2025 alone, half the sum it raised during the same period to elect crypto- and Trump-friendly candidates.

Ripple Labs, a crypto firm founded by San Francisco billionaire Chris Larsen, was the top technology donor to Trump’s lavish $239 million inauguration fund. Ripple and Coinbase have been among the companies that have donated to Trump’s destruction of the White House’s East Wing in order to build a ballroom.

Trump, who values loyalty above all, has amply rewarded the tech industry’s support, appointing crypto-friendly regulators and all but eliminating regulations on the fledgling industry. He’s gone further, dropping investigations into crypto firms and crypto crime and tapping billionaire tech investor David Sacks, a generous donor to his campaign, as the White House’s first crypto and artificial intelligence czar. 

In a largely symbolic gesture, Trump recently pardoned Changpeng Zhao, the founder of Binance, the world’s largest crypto currency exchange. Zhao had been sentenced to 4 months in prison after pleading guilty to failing to maintain an effective anti-money laundering effort at Binance. Trump maintained that the crypto chief “had a lot of support” from those who believed in his innocence. The more plausible explanation is that Zhao’s and Trump’s business dealings are enmeshed. Once a crypto skeptic, the president has become a crypto entrepreneur, investor, and booster, doing his part to rehabilitate an industry plagued by irregularities and bad press.

Trump shares a sensibility with crypto executives. Like them, he has a monumental drive toward self-interest and an impulse toward authoritarianism. Andreessen associate Balaji Srinivasan, a former executive at Coinbase, has promoted a scheme called the Network State in which tech elites abandon democracy to form their own sovereign states. Notably, the coin of these realms would be cryptocurrency. Srinivasan’s program, strange as it may sound, has attracted enthusiastic support from leading tech figures like Andreessen, Tan and billionaire tech investor Michael Moritz.

Politically active crypto chiefs Larsen and Jesse Pollak have pushed  more traditional forms of authoritarianism. Nationally, Larsen has donated to political candidates who hold regulators at bay, specifically to evade consumer protection laws in place since the Great Depression. Larsen has become a top political donor in San Francisco where he has funded various law-and-order initiatives including two 2024 ballot measures, one that tied welfare payments to proofs of sobriety and another that expanded the police department’s use of surveillance.

More recently, he spent nearly $10 million on the SFPD’s Real-Time Investigation Center, which collects and analyzes surveillance data gathered by cameras scattered throughout the city, many of which he  donated. The center is in an office building leased by Larsen’s company and owned by Trump, raising questions about Mayor Daniel Lurie’s creation of a public-private partnership able to evade the oversight of a traditional government agency.

Pollak, a Coinbase executive, poured about $400,000 into recent Oakland elections, through Abundant Oakland and Families for a Vibrant Oakland. The money was used to promote candidates who pursued a narrative of a crime-ridden city, despite statistics that proved otherwise. They promoted increased policing to combat drug use and homelessness, two social ills that have proven impervious to harsh discipline.

After dozens of Confederate memorials and statues were removed in recent years, monuments to American power are, again, having a moment. Trump has promised to build a National Garden of American heroes that will include statues of figures as diverse as George Washington, Billy Graham and Elvis Presley. Trump’s plan is likely to have no greater fans for his tribute to American exceptionalism than the crypto executives who share the president’s authoritarian tendencies."]]></description>
<dc:subject>donaldtrump maga authoritarianism alcatraz fascism rosscalvin crypto cryptocurrencies ericdoss marcandreessen elonmusk peterthiel markzuckerberg facebook meta libertarianism garrytan coinbase superpacs jontester sherrodbrown montana ripplelabs crhislarsen ripple davidsacks oligarchy billionaires changpengzhao binance government governance balajisrinivasan jessepollak networkstate sanfrancisco oakland abundantoakland familiesforavibrantoakland monuments 2025 worldlibertyfinancial</dc:subject>
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<item rdf:about="https://walklistencreate.org/2025/09/11/tracing-the-world-on-radhika-subramaniams-footprint/">
    <title>Tracing the World: On Radhika Subramaniam’s Footprint – walk · listen · create</title>
    <dc:date>2025-09-30T20:24:31+00:00</dc:date>
    <link>https://walklistencreate.org/2025/09/11/tracing-the-world-on-radhika-subramaniams-footprint/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Radhika Subramaniam is Associate Professor of Visual Culture at Parsons School of Design/The New School in New York City where she was also the first Director/Chief Curator of the Sheila C. Johnson Design Center from 2009 to 2017. With an interdisciplinary practice as curator and writer, she explores crises and surprises as they emerge in urban life, walking, art and human-nonhuman relationships.
Subramaniam is currently also on the Grand Jury for the Marŝarto Awards.

Subramaniam recently published Footprint: Four Itineraries, probing the long history of the footprint’s manifestation in the human imagination.

WLC’s co-founder Babak Fakhamadeh managed to grab a copy. What follows is a review of the book.

---

Radhika Subramaniam’s Footprint: Four Itineraries is less a book about feet than about the entangled histories, metaphors, and politics that follow in their wake. A hybrid, sitting between critical essay, travelogue, and cultural history, Subramaniam’s text is structured around four “itineraries”, Stride, Pace, Trudge, and Track. The book meanders across centuries and continents, from fossilized prints at Laetoli to the boot marks on the moon, from Hopi migration routes to border patrol surveillance, from urban pavements to the abstracted “carbon footprint.”

The style is deliberately hybrid. Subramaniam writes as cultural historian, essayist, and walker, moving fluidly between anecdote, archival fragment, and critical reflection. Not unlike a stream-of-consciousness, or, indeed, a meander through walking history.

The text resists linear argument, instead wandering as a footprint might: partial, overlapping, ambiguous. Though this results less in the narrative following a strong directional arrow, at times risking a certain diffuseness, the deliberate “meandering” resists closure and mimics the uncertain traces of a footprint itself, and so, this looseness is also the book’s strength, mirroring its central claim; that footprints are not fixed imprints but mobile, paradoxical traces. They signify presence by absence, endurance by fragility.

The stories gathered here are pleasantly diverse. We encounter Mary Leakey’s discovery of early hominin prints, the Hopi injunction to “make footprints” as a covenant with land, the mutilated bronze foot of conquistador Oñate, and the social-distancing decals of the New York subway. Subramaniam shows how each instance carries its own politics; of colonial conquest, imperial ambition, resistance, memory, or ecological precarity. The contemporary metaphors of the ecological and carbon footprint come under particular scrutiny: originally conceived as a pedagogical tool to measure resource use, they have been co-opted to individualize responsibility while masking corporate and systemic drivers of climate crisis.

The book sits comfortably within a larger body of work at the intersection of walking arts, environmental humanities, and notably, postcolonial critique. Hints of Lucy Lippard, Rebecca Solnit, and Guy Debord bubble to the surface. Subramaniam adds to this canon by insisting that the footprint is not only metaphor but material, a lived encounter between body and ground, always, and already, political.

What remains after reading is an ethical provocation. If footprints have long been signs of occupation, capture, and extraction, might they also model a different kind of relation, one that consists of light, and shared, and generative? Subramaniam suggests that to walk is to draft and redraft collective paths, to refuse the monumentality of conquest in favor of the fragile trace. Footprint is, in the end, a meditation on how to inhabit the world otherwise: to tread, if not without impact, then with care."

[See also:

"Footprint: Four Itineraries"
https://walklistencreate.org/book/footprint-four-itineraries/

"Footprint: Four Itineraries takes the footprint for a walk—to the Himalayas, the American southwest, to Arnhem Land and the moon, through monuments, prehistoric sites, sidewalks, and paintings, alongside artists, cartographers, surveyors and trackers, hesitating at revolutionary debate and solitary reverie, waylaid by war and land claims, sniffing greed and curiosity, recognizing both falter and fit, moving stealthily and boldly—to test the lasting power of this very material metaphor.

The book probes the long history of the footprint’s manifestation in the human imagination. It has signified mobility and occupation, inquiry and imperialism, absence and presence, trace, and impact. As a metaphor, it is ubiquitous and oddly self-evident. The book’s four itineraries trace the contradictory forensic evidence offered by the footprint’s many appearances. How can that dreamy print of your sole in the sand also signify that the planet is dying? When did a lithe mobile residue become a leaden artifact? Stories of footprints testify to colonialism, imperialism, and suppression but woven through them are histories of desire, persistence, mobility, and of lightness. In taking you on a series of journeys to understand why and what it means for our future, Footprint: Four Itineraries asks if it is yet possible to tread lightly on our world."]]]></description>
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<item rdf:about="https://profilebooks.com/work/forgotten/">
    <title>Forgotten: Searching for Palestine’s Hidden Places and Lost Memorials, by Raja Shehadeh, Penny Johnson (2025) - Profile Books</title>
    <dc:date>2025-05-23T20:00:00+00:00</dc:date>
    <link>https://profilebooks.com/work/forgotten/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["From two leading writers and thinkers on Palestine: a profound meditation on memory and what we choose to memorialise

"Shehadeh's books are like beacons held up against the darkness" Observer

"A heartbreaking, hopeful look at how Palestinian culture endures" Irish Times

Forgotten is a search for hidden or neglected memorials and places in historic Palestine - now Israel and the Occupied Palestinian Territories - and what they might tell us about the land and the people who live on our small slip of earth between the Mediterranean Sea and the Jordan River.

From ancient city ruins to the Nabi 'Ukkasha mosque and tomb, acclaimed writers and researchers Raja Shehadeh and Penny Johnson ask: what has been memorialised, and what lies unseen, abandoned or erased - and why? Whether standing on a high cliff overlooking Lebanon or at the lowest land-based elevation on earth at the Dead Sea, they explore lost connections in a fragmented land.

In elegiac, elegant prose, Shehadeh and Johnson grapple not only with questions of Israeli resistance to acknowledging the Nakba - the 1948 catastrophe for Palestinians - but also with the complicated history of Palestinian commemoration today."

[via:

"Forgotten: Searching for Palestine’s Hidden Places and Lost Memorials
Husband and wife duo Raja Shehadeh and Penny Johnson write about the secrets that persist in historic Palestine's 'politicised' architecture"
https://www.middleeasteye.net/discover/forgotten-searching-palestines-hidden-places-and-lost-memorials ]]]></description>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["How the discovery of a long-lost monument shattered the trust between a Japanese American community and the museum built to preserve their history."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=cjT53b6qXHw">
    <title>David Hammons: Day's End - YouTube</title>
    <dc:date>2024-12-30T21:27:00+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=cjT53b6qXHw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Whitney, in collaboration with Hudson River Park, has developed a permanent public art project by David Hammons. Entitled Day's End (2014–21), this monumental installation is located in Hudson River Park along the southern edge of Gansevoort Peninsula, directly across from the Museum.

Proposed to the Whitney by Hammons, Day's End takes inspiration from an artwork of the same name by Gordon Matta-Clark. In 1975, Matta-Clark cut five openings into the Pier 52 shed that formerly occupied the site. Hammons's Day's End is an open structure that precisely follows the outlines, dimensions, and location of the original shed—and, like Matta-Clark's intervention, it will offer an extraordinary place to experience the waterfront.

Taking both Day's Ends, as envisaged by Hammons and Matta-Clark, as jumping-off points, the Whitney has also created the Museum's first podcast, Artists Among Us, narrated by artist Carrie Mae Weems. Listen at https://whitney.org/podcast/days-end . 

Learn more at https://whitney.org/exhibitions/david-hammons-days-end "

[See also:

"Queer Histories of the Piers | David Hammons: Day's End" (2021)
https://www.youtube.com/watch?v=tS990SCeQIE

"The Whitney, in collaboration with Hudson River Park, has developed a permanent public art project by David Hammons. Entitled Day's End (2014–21), this monumental installation is located in Hudson River Park along the southern edge of Gansevoort Peninsula, directly across from the Museum.

Hammons’s Day’s End takes inspiration from an artwork of the same name by Gordon Matta-Clark, who cut five openings into the Pier 52 shed in 1975. Pier 52 was one of several piers inhabited by a vibrant Queer community in Manhattan’s Meatpacking District. Featuring interviews with artist and filmmaker Elegance Bratton; activist and Director of Client Services at the Sylvia Rivera Law Project Stefanie Rivera; photographer and archivist Efrain John Gonzalez; activist and performer Egyptt Labeija; and artist and art historian Jonathan Weinberg, this video recalls a time when sex, art, and creativity converged on the waterfront."

"Gordon Matta-Clark's Day's End | David Hammons: Day's End" (2022)
https://www.youtube.com/watch?v=uecdwXKuUco

"The Whitney, in collaboration with Hudson River Park, has developed a permanent public art project by David Hammons. Entitled Day's End (2014–21), this monumental installation is located in Hudson River Park along the southern edge of Gansevoort Peninsula, directly across from the Museum.

Hammons’s Day’s End takes inspiration from an artwork of the same name by Gordon Matta-Clark, who cut five openings into the dilapidated Pier 52 shed in 1975, transforming it into a "cathedral of light.""

"Preview: Day's End by David Hammons" (2019)
https://www.youtube.com/watch?v=Vv3rVp3g9Ic

"The Whitney, in collaboration with the Hudson River Park Trust, has developed a permanent public art project by David Hammons. Entitled Day's End (2021), this monumental installation is located in Hudson River Park along the southern edge of Gansevoort Peninsula, directly across from the Museum.

Proposed to the Whitney by Hammons, Day's End takes inspiration from an artwork of the same name by Gordon Matta-Clark. In 1975, Matta-Clark cut five openings into the Pier 52 shed that formerly occupied the site. Hammons's Day's End is an open structure that precisely follows the outlines, dimensions, and location of the original shed—and, like Matta-Clark's intervention, it will offer an extraordinary place to experience the waterfront.

Featuring interviews with Darren Walker (President, Ford Foundation), Lorna Simpson (Artist), Alex Fialho (Programs Director, Visual AIDS), Scott Rothkopf (Deputy Director for Programs and Nancy and Steve Crown Family Chief Curator, Whitney Museum of American Art), Adam D. Weinberg (Alice Pratt Brown Director, Whitney Museum of American Art), and Guy Nordenson (Structural Engineer)"

"Adam D. Weinberg and David Hammons discuss Day's End" (2021)
https://www.youtube.com/watch?v=N4si3OLbVEI

"Adam D. Weinberg and artist David Hammons discuss the conception of Hammons's permanent public art project Day's End. This monumental installation is located in Hudson River Park along the southern edge of Gansevoort Peninsula, directly across from the Whitney.

Day's End takes inspiration from an artwork of the same name by Gordon Matta-Clark. In 1975, Matta-Clark cut five openings into the Pier 52 shed that formerly occupied the site. Hammons's Day's End is an open structure that precisely follows the outlines, dimensions, and location of the origina"]]]></description>
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<item rdf:about="https://psyche.co/ideas/works-of-urban-graffiti-are-not-vandalism-but-public-monuments">
    <title>Works of urban graffiti are not vandalism, but public monuments | Psyche Ideas</title>
    <dc:date>2024-11-03T22:34:50+00:00</dc:date>
    <link>https://psyche.co/ideas/works-of-urban-graffiti-are-not-vandalism-but-public-monuments</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["They might appear to have little in common with statues or obelisks, but graffiti images serve a vital public function"
]]></description>
<dc:subject>graffiti rafaelschacter 2024 vandalism painting art architecture philosophy cities urban urbanism participation participatory streetart jennyholzer catherineopie monuments</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=twAP3buj9Og">
    <title>Who made these circles in the Sahara? - YouTube</title>
    <dc:date>2022-05-11T04:51:35+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=twAP3buj9Og</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Someone left these marks in the sand. We had to find out who.

Deep in the Sahara, far from any towns, roads, or other signs of life, is a row of markings in the sand. There are dozens of them stretching for miles in a straight line in central Algeria, each consisting of a central point surrounded by a circle of 12 nodes, like numbers on a clock. And when we started making this video, no one seemed to know what they were. 

We first saw the circles back in September 2021, after finding a Reddit post on r/WhatIsThis with coordinates asking what the circles could be. With just two upvotes and two commenters, it wasn’t exactly a lively discussion. But seeing the circles themselves on Google Earth was fascinating: They were eerily perfect in their shape and regularity, but so deeply isolated in the desert. We were hooked on finding an answer. 

So we decided to make a video out of trying to solve the mystery, no matter where it took us. We documented every step of the process — from Zoom calls and web browser screen recordings to vlogs and field shoots — to show the reporting process from the inside out. And when we maxed out what we could learn on the internet, we handed over this story to a team in Algeria to take it all the way. 

Resources: 

Check out the circles for yourself: https://www.google.com/maps/@27.270129,4.3221894,251m/data=!3m1!1e3?entry=yt

Read Will K’s original post: https://www.reddit.com/r/Whatisthis/comments/nv4ysr/ive_just_discovered_unexplained_and_undocumented/ (https://earth.google.com/earth/d/1lrMxiOdgZ6ydTZfobEFGGDdxDVo8u_9y?usp=sharing )

Here’s the 1885 document that Melissa found: https://www.journals.uchicago.edu/doi/pdf/10.2307/495986

Read Dale Lightfoot on the sustainability of qanats: https://link.springer.com/article/10.1007/s12685-017-0200-7

My interview with Marta Musso didn’t make the final cut, but you can check out her work on the history of the hydrocarbon industry and Algerian decolonization: https://www.jstor.org/stable/j.ctt1mtz521.8?seq=1

I also spoke to Roberto Cantoni, who wrote a great book that covers the same history: https://www.taylorfrancis.com/chapters/mono/10.4324/9781315531533-4/oil-diplomacy-wartime-algeria-roberto-cantoni "]]></description>
<dc:subject>algeria googleearth maps mapping oil petroleum history france 2022 internet investigation research reddit geography desert colonization colonialism water wells irrigation monuments satelliteimagery burial graves sahara saharadesert</dc:subject>
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<item rdf:about="https://directory.libsyn.com/episode/index/id/15743372/tdest_id/1617341">
    <title>Libsyn Directory: THE RED NATION PODCAST: Learning &amp; unlearning w/ Noname</title>
    <dc:date>2020-08-29T19:31:29+00:00</dc:date>
    <link>https://directory.libsyn.com/episode/index/id/15743372/tdest_id/1617341</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: https://soundcloud.com/therednationpod/learning-unlearning-w-noname ]

[Discussion of Land Back (and reparations) starts around 21:40 and continues on from there until 27:00 and beyond

Nick Estes also references Cheryl Harris's "Whiteness As Property"
https://harvardlawreview.org/1993/06/whiteness-as-property/ ]]]></description>
<dc:subject>noname rednation radicalization unlearning learning howwlearn howweread education unschooling deschooling pedagogyoftheoppressed angeladavis frantzfanon 2020 interviews nickestes georgejackson activism politics politicization violence prisonabolition self-defense autonomy prisons blackpanthers blackpantherparty capitalism socialism economics poverty radicals left bookclubs nonamebookclub mutualaid care caretaking anarchism survivalists sovereignty multispecies howwelearn howethink thinking philosophy colonialism decolonization imperialism gardening farming twitter socialmedia democracy reading race racism us covid-19 acabspring blackness dialogue walterrodney pronunciation language impostersyndrome impostorsyndrome organizing inequality motivation revolution oppression incarceration revolutionaries whitesupremacy statues monuments property land ownership indigenous indigeneity landreturn liberation freedom solidarity internationalsolidarity hypodescent cedricrobinson settlercolonialism michelleobama electoral</dc:subject>
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    <title>elisehunchuck [Elise Misao Hunchuck]</title>
    <dc:date>2018-10-17T20:48:12+00:00</dc:date>
    <link>https://elisehunchuck.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: https://twitter.com/lowlowtide/status/1052233654074654720

"what a rare pleasure, listening 2  @elisehunchuck presenting her research on an incomplete atlas of stones: ‘Trangressions & Regressions’ @tudelft  #ULWeek2018

“stones help us understand how the earth moves”—@elisehunchuck"]

"Elise Hunchuck (b. Toronto) is a Berlin based researcher and designer with degrees in landscape architecture, philosophy, and geography whose work focuses on bringing together fieldwork and design through collaborative practices of observation, care, and coordination. Facilitating multidisciplinary exchanges between teaching and representational methods as a way to further develop landscape-oriented research methodologies at multiple scales, her research develops cartographic, photographic, and text-based practices to explore and communicate the agency of disasters through the continual configuring and reconfiguring of infrastructures of risk, including memorials, monuments, and coastal defense structures. 

A University Olmsted Scholar, Elise was recently a finalist for the 2017 Maeder-York Landscape Fellowship at the Isabella Stewart Gardner Museum (Cambridge, US) and a research fellow with the Landscape Architecture Foundation (Washington DC, US). Her writing has appeared in The Funambulist and her research has been featured on BLDGBLOG. She has taught representational history and methods in the graduate architecture, landscape, and urban design departments at the Daniels Faculty of Architecture, Landscape, and Design, University of Toronto (Toronto, CA) and has been an invited critic in the undergraduate and graduate programs at the architecture, landscape, and urban design departments at the Daniels Faculty and the School of Architecture at Waterloo.

Elise is also a member of the editorial board of Scapegoat Journal: Architecture / Landscape / Political Economy. 

For general enquiries, commissions, or collaborations, please contact directly via email at elisehunchuck [at] gmail [dot] com."

[See also:

"An Incomplete Atlas of Stones"
https://elisehunchuck.com/2015-2017-An-Incomplete-Atlas-of-Stones
https://cargocollective.com/elisehunchuck/An-Incomplete-Atlas-of-Stones-1
https://www.daniels.utoronto.ca/news/2018/02/21/elise-hunchuck-mla-2016-presents-incomplete-atlas-stones-aa-london
https://thefunambulist.net/articles/incomplete-atlas-stones-cartography-tsunami-stones-japanese-shoreline-elise-misao-hunchuck
https://thefunambulist.net/contributors/elise-hunchuck

"Warnings Along the Inundation Line"
http://www.bldgblog.com/2017/06/warnings-along-the-inundation-line/

"Century Old Warnings Against Tsunamis Dot Japan's Coastline"
https://www.smithsonianmag.com/smart-news/century-old-warnings-against-tsunamis-dot-japans-coastline-180956448/

"How Century Old Tsunami Stones Saved Lives in the Tohoku Earthquake of 2011"
https://www.forbes.com/sites/davidbressan/2018/03/11/how-century-old-tsunami-stones-saved-lives-in-the-tohoku-earthquake-of-2011/#18355a8244fd

https://www.daniels.utoronto.ca/news/2017/06/28/bldgblog-features-incomplete-atlas-stones-elise-hunchuck-mla-2016

https://issuu.com/danielsfacultyuoft/docs/2016.04.11_-_2016_winter_thesis_rev ]]]></description>
<dc:subject>elisehunchuck landscape multispecies morethanhuman japan iceland tsunamis design fieldwork srg multidisciplinary teaching place time memory disasters risk memorials monuments coasts oceans maps mapping photography canon scale observation care caring coordination markers</dc:subject>
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<item rdf:about="https://www.theatlantic.com/politics/archive/2017/05/we-cant-walk-away-from-this-truth/527721/">
    <title>Mayor Mitch Landrieu's Speech on Confederate Monuments - The Atlantic</title>
    <dc:date>2017-05-27T20:07:48+00:00</dc:date>
    <link>https://www.theatlantic.com/politics/archive/2017/05/we-cant-walk-away-from-this-truth/527721/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A piece of stone. One stone.

Both stories were history.

One story told.

One story forgotten or maybe even purposefully ignored.

As clear as it is for me today—for a long time, even though I grew up in one of New Orleans’ most diverse neighborhoods, even with my family’s long proud history of fighting for civil rights—I must have passed by those monuments a million times without giving them a second thought.

So I am not judging anybody, I am not judging people. We all take our own journey on race. I just hope people listen like I did when my dear friend Wynton Marsalis helped me see the truth. He asked me to think about all the people who have left New Orleans because of our exclusionary attitudes. Another friend asked me to consider these four monuments from the perspective of an African American mother or father trying to explain to their fifth grade daughter who Robert E. Lee is and why he stands atop of our beautiful city.

Can you do it?

Can you look into that young girl’s eyes and convince her that Robert E. Lee is there to encourage her? Do you think she will feel inspired and hopeful by that story? Do these monuments help her see a future with limitless potential? Have you ever thought that if her potential is limited, yours and mine are too?

We all know the answer to these very simple questions.

When you look into this child’s eyes is the moment when the searing truth comes into focus for us. This is the moment when we know what is right and what we must do. We can’t walk away from this truth.

And I knew that taking down the monuments was going to be tough, but you elected me to do the right thing, not the easy thing and this is what that looks like. So relocating these Confederate monuments is not about taking something away from someone else. This is not about politics; this is not about blame or retaliation. This is not a naïve quest to solve all our problems at once.

This is, however, about showing the whole world that we as a city and as a people are able to acknowledge, understand, reconcile, and most importantly, choose a better future for ourselves, making straight what has been crooked and making right what was wrong.

Otherwise, we will continue to pay a price with discord, with division and yes with violence.

To literally put the Confederacy on a pedestal in our most prominent places of honor is an inaccurate recitation of our full past, it is an affront to our present, and it is a bad prescription for our future.

History cannot be changed. It cannot be moved like a statue. What is done is done. The Civil War is over, and the Confederacy lost and we are better for it. Surely we are far enough removed from this dark time to acknowledge that the cause of the Confederacy was wrong.

And in the second decade of the 21st century, asking African Americans—or anyone else—to drive by property that they own; occupied by reverential statues of men who fought to destroy the country and deny that person’s humanity seems perverse and absurd.

Centuries old wounds are still raw because they never healed right in the first place. Here is the essential truth: we are better together than we are apart. Indivisibility is our essence.

Isn’t this the gift that the people of New Orleans have given to the world?

We radiate beauty and grace in our food, in our music, in our architecture, in our joy of life, in our celebration of death; in everything that we do. We gave the world this funky thing called jazz—the most uniquely American art form that is developed across the ages from different cultures. Think about second lines, think about Mardi Gras, think about muffaletta, think about the Saints, gumbo, red beans and rice. By God, just think.

All we hold dear is created by throwing everything in the pot; creating, producing something better; everything a product of our historic diversity.

We are proof that out of many we are one—and better for it! Out of many we are one—and we really do love it!

And yet, we still seem to find so many excuses for not doing the right thing. Again, remember President Bush’s words, “A great nation does not hide its history. It faces its flaws and corrects them.”

We forget, we deny how much we really depend on each other, how much we need each other. We justify our silence and inaction by manufacturing noble causes that marinate in historical detail. We still find a way to say “Wait—not so fast,” but like Dr. Martin Luther King Jr. said, “wait has almost always meant never.”

We can’t wait any longer. We need to change. And we need to change now. No more waiting. This is not just about statues, this is about our attitudes and behavior as well. If we take these statues down and don’t change to become a more open and inclusive society this would have all been in vain.

While some have driven by these monuments every day and either revered their beauty or failed to see them at all, many of our neighbors and fellow Americans see them very clearly. Many are painfully aware of the long shadows their presence casts; not only literally but figuratively. And they clearly receive the message that the Confederacy and the cult of the lost cause intended to deliver.

Earlier this week, as the cult of the lost cause statue of P.G.T Beauregard came down, world-renowned musician Terence Blanchard stood watch, his wife Robin and their two beautiful daughters at their side. Terence went to a high school on the edge of City Park named after one of America’s greatest heroes and patriots, John F. Kennedy. But to get there he had to pass by this monument to a man who fought to deny him his humanity.

He said, “I’ve never looked at them as a source of pride … it’s always made me feel as if they were put there by people who don’t respect us … This is something I never thought I’d see in my lifetime. It’s a sign that the world is changing.”

Yes, Terence, it is—and it is long overdue.

Now is the time to send a new message to the next generation of New Orleanians who can follow in Terence and Robin’s remarkable footsteps.

A message about the future, about the next 300 years and beyond; let us not miss this opportunity New Orleans and let us help the rest of the country do the same.

Because now is the time for choosing. Now is the time to actually make this the city we always should have been, had we gotten it right in the first place.

We should stop for a moment and ask ourselves—at this point in our history—after Katrina, after Rita, after Ike, after Gustav, after the national recession, after the BP oil catastrophe and after the tornado: If presented with the opportunity to build monuments that told our story or to curate these particular spaces, would these monuments be what we want the world to see? Is this really our story?

We have not erased history; we are becoming part of the city’s history by righting the wrong image these monuments represent and crafting a better, more complete future for all our children and for future generations. And unlike when these Confederate monuments were first erected as symbols of white supremacy, we now have a chance to create not only new symbols, but to do it together, as one people.

In our blessed land we all come to the table of democracy as equals.

We have to reaffirm our commitment to a future where each citizen is guaranteed the uniquely American gifts of life, liberty and the pursuit of happiness.

That is what really makes America great and today it is more important than ever to hold fast to these values and together say a self-evident truth that out of many we are one. That is why today we reclaim these spaces for the United States of America. Because we are one nation, not two; indivisible with liberty and justice for all, not some. We all are part of one nation, all pledging allegiance to one flag, the flag of the United States of America. And New Orleanians are in—all of the way.

It is in this union and in this truth that real patriotism is rooted and flourishes. Instead of revering a 4-year brief historical aberration that was called the Confederacy we can celebrate all 300 years of our rich, diverse history as a place named New Orleans and set the tone for the next 300 years.

After decades of public debate, of anger, of anxiety, of anticipation, of humiliation and of frustration. After public hearings and approvals from three separate community led commissions. After two robust public hearings and a 6-1 vote by the duly elected New Orleans City Council.

After review by 13 different federal and state judges. The full weight of the legislative, executive, and judicial branches of government has been brought to bear and the monuments in accordance with the law have been removed.

So now is the time to come together and heal and focus on our larger task. Not only building new symbols, but making this city a beautiful manifestation of what is possible and what we as a people can become.

Let us remember what the once exiled, imprisoned and now universally loved Nelson Mandela and what he said after the fall of apartheid.

“If the pain has often been unbearable and the revelations shocking to all of us, it is because they indeed bring us the beginnings of a common understanding of what happened and a steady restoration of the nation's humanity.”

So before we part let us again state the truth clearly.

The Confederacy was on the wrong side of history and humanity. It sought to tear apart our nation and subjugate our fellow Americans to slavery. This is the history we should never forget and one that we should never again put on a pedestal to be revered.

As a community, we must recognize the significance of removing New Orleans’ Confederate monuments. It is our acknowledgment that now is the time to take stock of, and then move past, a painful part of our history.

Anything less would render generations of courageous struggle and soul-searching a truly lost cause.

Anything less would fall short of the immortal words of our greatest President Abraham Lincoln, who with an open heart and clarity of purpose calls on us today to unite as one people when he said:

“With malice toward none, with charity for all; with firmness in the right, as God gives us to see the right; let us strive on to finish the work we are in, to bind up the nation's wounds … to do all which may achieve and cherish—a just and lasting peace among ourselves and with all nations.”"]]></description>
<dc:subject>nola neworleans classideas history us confederacy 2017 mitchlandrieu confrontinghistory monuments inequality racism race slavery wyntonmarsalis terenceblanchard culture division unity community abrahamlincoln robertelee jeffersondavis pgtbeauregard georgewbush barackobama andrewjackson henryclay omission civilwar indivisibility lexanderstephens</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mitchlandrieu"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:terenceblanchard"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:division"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:unity"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:abrahamlincoln"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:robertelee"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jeffersondavis"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:georgewbush"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:andrewjackson"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:henryclay"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:omission"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:civilwar"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lexanderstephens"/>
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</item>
<item rdf:about="http://www.kcet.org/arts/artbound/counties/san-diego/border-monuments-us-mexico.html">
    <title>The Journey to Border Monument Number 140 | San Diego | Artbound | KCET</title>
    <dc:date>2013-03-06T00:34:43+00:00</dc:date>
    <link>http://www.kcet.org/arts/artbound/counties/san-diego/border-monuments-us-mexico.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In 2007, I began photographing the monuments that mark the border between Mexico and the United States. My intent was to document each of the 276 obelisks installed by the International Boundary Commission following the Mexican/American War. The monuments locate the land-boundary as it extends west, from El Paso/Juarez to Tijuana/San Diego, through highly populated urban areas and some of the most remote expanses of Chihuahuan and Sonoran desert. The contemporary survey became reflective of a survey conducted by the photographer D.R. Payne between 1891 and 1895 under the auspices of the Boundary Commission. It also functions as a geographic cross-section of a border in the midst of change. Responses to immigration, narcotrafficking and the imperatives of a post-9/11 security climate prompted more change along the border in the early 2000's than had occurred since the boundary was established. Thus, the completed project exists as a typology, with the incongruous obelisks acting as witness to a shifting national identity as expressed through an altered physical terrain."]]></description>
<dc:subject>obelisks us mexico border borders photography sandiego tijuana 2013 2007 texas davidtaylor elpaso juarez monuments juárez ciudadjuárez</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1d4fcb55d5fb/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mexico"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:border"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:photography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sandiego"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tijuana"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2013"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:texas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:davidtaylor"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:elpaso"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:juarez"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:monuments"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:juárez"/>
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</item>
<item rdf:about="http://www.wrighton.com.ar/archives/buenos-aires-collective-memory-2/">
    <title>buenos aires: collective memory | line of sight</title>
    <dc:date>2012-02-20T07:55:15+00:00</dc:date>
    <link>http://www.wrighton.com.ar/archives/buenos-aires-collective-memory-2/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["That’s where Argentina seems to have failed. The collective memory of the oligarchy did not adapt to include immigrants. And those immigrants held tight to memories they could not pass on. Their children were caught in an identity crisis that is still visible today. Official attempts to revise history & demonization of anyone who disagrees with their cause are two recent examples of that conflict. Such unhealthy policies continue to prevent the formation of any type of collective bond."]]></description>
<dc:subject>buenosaires assimilation immigrants nationalism collectivememory monuments 2012 robertwright argentina</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ce5e5197ef2e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:buenosaires"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:assimilation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:immigrants"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nationalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:collectivememory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:monuments"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:robertwright"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:argentina"/>
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</item>
<item rdf:about="http://www.flickr.com/groups/lamonuments/">
    <title>Flickr: LA Historic-Cultural Monuments</title>
    <dc:date>2011-02-23T21:04:43+00:00</dc:date>
    <link>http://www.flickr.com/groups/lamonuments/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The City of Los Angeles has over 500 designated "historical-cultural monuments" that define the cultural heritage of this city. A complete list of the Historic-cultural monuments is contained in the book: Landmark L.A (http://www.lfla.org/cgi-bin/store/8967.html ) or online (http://cityplanning.lacity.org/complan/HCM/HCM.CFM ).

Help create a photo database of historic-cultural monuments in Los Angeles. Please follow the groups format: Namber of building or place as the title and the HCM number as the subtitle. You will have to look up the HCM number at one of the above references."]]></description>
<dc:subject>via:straup losangeles landmarks history culture architecture database monuments flickr photography heritage</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d8816990566c/</dc:identifier>
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</item>
<item rdf:about="http://www.idlewords.com/2008/01/rosario.htm">
    <title>Rosario</title>
    <dc:date>2008-01-25T04:26:54+00:00</dc:date>
    <link>http://www.idlewords.com/2008/01/rosario.htm</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["found myself in bus heaven...[seat] didn't just recline flat - I'm pretty sure they reclined past flat....When I had finished the steak, the same steward floated by to find out what I would like to drink. ¿Whisky? Right away, sir!"
]]></description>
<dc:subject>architecture argentina rosario buses travel maciejceglowski monuments flags maciejcegłowski</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:68d7d5d32c7f/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:argentina"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rosario"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maciejceglowski"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:monuments"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flags"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maciejcegłowski"/>
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</item>
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