In the postwar period, the former Yugoslavia undertook a project to foster national unity, which included the construction of monuments, cenotaphs, sculptures, and memorials across the nation to strengthen the collective memory of a highly fragmented society. This initiative provided numerous artists and architects with the opportunity to develop new architectural languages dedicated to memory as well as to explore innovative symbolic and interpretive approaches. Among these architects, Bogdan Bogdanović stands out as one who, more than any other, devoted himself entirely to the design of these memorials. He developed a novel compositional and decorative theory, deliberately distancing his work from past conventions and eschewing forms or symbols defined by religious or political affiliations, ultimately creating universal communication structures. This essay offers a critical analysis of several structures designed by Bogdanović in present-day Serbia, which are now the focus of intense debate regarding their preservation and protection. These spomenik, particularly in the aftermath of Yugoslavia’s dissolution, represent instances of dissonant heritage—often neglected and excluded from preservation efforts due to their ambiguous status, caught between the recognition of the historical, architectural, and cultural significance of Bogdanović’s work and the interpretive conflicts that have emerged over time. Examining these examples provides a renewed understanding of Bogdanović’s work and its reconciliation with the past and offers insights into contemporary challenges surrounding dissonant heritage and the strategies employed to address the divisions and narrative distortions propagated by political agendas.