Milena Bonilla’s discursive practice explores connections among economics, territory, and politics through everyday interventions. Her drawings, sculptures, and photography are active investigations into our often-fallible notions of history. Stone Deaf (2009) is a direct intervention into Karl Marx’s gravesite, for which the artist literally traced the history of Marx’s grave. She traveled to Highgate in London seeking the gravesite, only to find a plaque stating that Marx’s remains had been removed in 1954 to another part of the cemetery. She discovered that this had taken place at the behest of the British Communist Party, and that the deceased was now in a more prominent location, marked with a bust and a monument. Bonilla’s rubbing of the original plaque celebrates an anti-monument, so to speak, calling into question Marx’s life and legacy.