THE AIDS MEMORIAL QUILT AND THE CONTEMPORARY CULTURE OF PUBLIC COMMEMORATION

This essay situates the NAMES Project AIDS Memorial Quilt within the vigorous culture of national commemorative building in the late twentieth-century United States, a culture that found its first articulation in the Vietnam Veterans Memorial. We begin with an assessment of ways in which the AIDS Memorial Quilt appropriated and extended the rhetoric of the VVM in terms of the two memorials' modes of democratic representation, their troubling of the boundaries between contexts of invention and reception, and their differential coding of the public and private. We take up later memorial projects, specifically the Oklahoma City National Memorial and the September 11, 2001, commemorative projects, to suggest how the rhetoric of the AIDS Quilt can be marked as a harbinger of practices to come and how its progressive rhetoric has been turned in some later commemorative works to very different ends.