In my research on the Monument to the Revolution, as one of the foremost commemorative spatial sites of state power in Mexico City, I have previously written on For the Desk Drawer how it is a significant architectural form and a profoundly ambiguous carrier of utopian promise. Completed on 20 November 1938 the monument has served, on one hand, as the stage for official ceremonies remembering and honouring the Mexican Revolution (1910-1920) and its heroes ever since. On the other hand it is also a space that invokes a redemptive dimension of collective resistance. Beyond the recognition of state and class power, the Monument to the Revolution is a meeting place for transformational politics, including social movements from students, workers, and campesinos in contesting the site as a social space. The Monument to the Revolution is therefore an ambiguous carrier of utopian promise because it is both the spatial base for honouring and remembering the “heroes” of the Mexican Revolution and for collective contemporary resistance against state and class power in Mexico. Most recently, I have come across the work of Thomas Kellner that captures the contradictory dynamics of the Monument to the Revolution in a new and original form. Why might this be interesting in thinking about monuments; the triumphal procession of the victors in history; and attempts to establish a tradition of the past?