Monuments, according to a generally held viewpoint in recent cultural history, are objects in public space that offer a point of identification for a people. In theorizing the monument, we find ourselves at the crossroads between culture and politics, and this is a crossroads at which Hannah Arendt was very much at home. Although she did not write a lot about monuments, her thoughts on objects of art and political agency can be seen as interventions in the theorization of monuments. Although objects of art and political action may seem to belong to different categories of human practices—that of making and of action respectively—what they have in common are their appearances in public space. To Arendt, what is made to appear in public space will embody a form of agency. Arendt shows that the political and the cultural are interlaced—either culture helps condition the political, or it interferes directly, in the form of artistic agency in public space, capable of opening the eye to conflicts, in the present or the past, that may have been suppressed or even repressed.