On February 19th, 2015, Clemente Padín, the elder statesman of Uruguayan art, replied to an email from his compatriot and young artist Francisco Tomsich with a fateful attachment:
Artists have used Yugoslav World War II monuments as elements in their works to criticize official policies
Vlad Beronja and Stijn Vervaet, eds. Post-Yugoslav Constellations: Archive, Memory, and Trauma in Contemporary Bosnian, Croatian, and Serbian Literature and Culture. Berlin: De Gruyter, 2016.