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The Strange Afterlife of Confederate Monuments

“Monuments” an exhibition in Los Angeles, interrogates the changing meanings of Civil War-era statues and their ability to shape historical narrative.

Once Confederate monuments are removed from their plinths, they do not simply lose their power. At the “Monuments” exhibition, they metamorphose. Brought indoors, stripped of their granite base, paint-bombed, broken, dented or cut open, they cease to function as public commands and begin to solicit scrutiny again: strangely seductive artifacts that can look ridiculous, brutal, theatrical, even beautiful. The achievement of the exhibition is that it largely refuses to deploy their damaged surfaces into the reassuring clarity of a morality play. Instead, we encounter the shapeshifting life of monuments, revealing how they persist, mutate, and acquire new power precisely when they are undone, stripped of their original meaning.

Curated by Bennett Simpson, Hamza Walker, and Kara Walker, the show is split between MoCA Geffen and The Brick. The former holds the bulk of the exhibition and the latter functions almost like a chamber piece. At the Geffen are nine largely “intact” decommissioned monuments, one monument rendered into bronze ingots, and fragments from the bases of the Robert E. Lee and Jefferson Davis monuments in Richmond, Virginia. Produced between 1887 and 1985, these objects are confronted by works from 18 artists and collectives made between 1990 and 2025. The Brick, by contrast, revolves around Kara Walker’s sculptural reworking of a Stonewall Jackson statue paired with archival imagery that recounts the monument’s history from its unveiling in 1921 to its removal a century later.

Rather than narrating American history as linear, the exhibition stages the life cycle of the Confederate monument itself. It begins with the monument’s original function in the Lost Cause era: to turn defeat into dignity, grievance into stone and bronze. But it also shows what happened after that meaning hardened and then began to crack through the civil rights era, through decades of uneasy civic coexistence, and finally through the recent wave of protest, defacement, removal, and decommissioning. The decommissioned monument emerges here as a time-thick object, one that has accumulated layer upon layer of political meaning without ever fully shedding the old one.

The contemporary artworks in “Monuments” serve several functions at once: They investigate the history of antebellum Confederate imagery beyond the pedestal, test the continued force of monumental form, and at times explore counter models of memory. The exhibition’s best moments resist the temptation to turn history into a diagram and cleanly separate these functions into binaries.

Fraser’s Robert E. Lee and Stonewall Jackson (1948) and Thomas’s A Suspension of Hostilities (2019) is one of the exhibition’s most striking and disquieting juxtapositions. On paper, the contrast seems easy enough: A bronze equestrian monument to Confederate heroism faces a verticalized replica of the “General Lee,” the muscle car from The Dukes of Hazzard, another vehicle through which Confederate iconography was naturalized in American popular culture. But the pairing is more unsettling because of how they operate with a surprising formal kinship. Both are upright, frontal, weighty, and imposing; both address the viewer through mass, scale, and a kind of........

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