ABSTRACT
This ‘Part 2’ chapter begins with further autobiographical reflections alluding to the monument, which leads to further considerations of the peculiarities of art in the public sphere as well as distinctions between city, town, suburbia, and housing estates as sites and contexts for monuments. References to trips and journeys, to Robert Smithson and Tacita Dean all bring discussion of the monument into a new dialogue with time and place and event. On the way to a conclusion that refers again to Part 1’s ‘hypotheses’, the writer alights on the counter-monument as a kind of potential destruction or absence, anathema to the monument’s traditional image of resilience and enduring presence.
