 When I get students to look at monuments, I want them to consider the range of things. I want them to consider the subject matter. I want them to consider the design. I want them to consider the story of the artist behind it. I want them to consider the story of the people who paid for the statue. Those are all important to the story of the creation of the monument. And monuments and their meaning change over time. I think the best example to use for that is the Shaw Memorial in Boston. Originally it was the Robert Gould Shaw Memorial and the 54th Massachusetts. Now we've included it to be both of them so that it's not just a memorial seen solely to Robert Gould Shaw, a white patrician, but it's really a story about the self-emancipation of African-Americans once the emancipation proclamation goes into place. And what's really interesting about that statue is that statue was in such bad physical condition and it was decided to use that statue and clean that statue as a symbol of reconciliation between white and black residents in Boston in the late 1970s and early 1980s over the terrible rift that had developed over busing. So you're able to take this monument from the Civil War which deals with the race question and use it in a contemporary context to bring the people together. And that's a great tale and that's part of that monument's history now. So as I said, these become places of memory. They don't just are not just static. And when you have a great artist like a St. Gaudens or a French, their monuments have the ability to move you. And all artists, whether it's a filmmaker, whether it's a painter, whether it's a sculptor, they want to manipulate you. And I don't mean that in a pejorative sense. I mean they want you to move. They want you to feel a certain way. And if you walk away feeling a certain way, then that sculptor has done his or her job to make you feel. Or in the case of Maya Lin, who did the Vietnam Veterans Memorial, she also does the Civil Rights Memorial in Montgomery, Alabama. It's the same thing. It's touching the memorial, having access to the memorial, touching it, and then letting that moment transform you within the context of those 40 individuals who lost their lives in the modern civil rights movement.