Forms of remembrance and oblivion, the article written by Eduardo Villar recently published in Sauna, is an insightful analysis on the relationship between making art and the building of collective memory, and how artistic practice can facilitate the re-actualization of the past into the present through the aesthetic experience.

Villar cites the Monument to the Victims of Terrorism and specifically Reconstruction of the portrait of Pablo Míguez as examples of this type of artistic exercise on memory.