ABSTRACT
What difference does it make to remember the dead by their faces or names? The chapter urges to abandon the ideal values of likeness and presence in representing the dead that many seek in portraits of the dead. To banish resemblance is to open a possibility for relating to a history of mass killings through a paradoxical concrete abstraction that is signified by architectural images such inscriptions of names of the dead. The chapter concludes with a discussion of how names of the dead that constitute the activists’ archive resonate with various artistic experiments with archive as art.
