Observing human mementos in my home, in friends' homes but also in abandoned buildings, such as souvenirs, photographs and clothes, made me want to learn more about what memory is. My first remarks may have been about the mechanism of memory, but they have a private character, connected to the personal experiences of the inhabitants, without any political or cultural overtones in the foreground. The second character, the "public" is more easily perceived in the remnants of earlier times that are chosen to be preserved as monuments in an exhibition that is protected. In this case the question does not arise as to whether the object on display is a monument if it is in a museum, as this question has already been answered: in relation to human souvenirs, which require a personal dialogue with themselves, with people involved, but also with the space they are in. The practice of abandonment and preservation, of the deconstruction and construction of memory connects historical elements with sampling critical thinking: this connection takes place in the framing and exhibition of the work - monument, a practice similar to sampling in contemporary music. When a music producer samples, he chooses a soundtrack of another era and keeps only the points he deems appropriate, for the composition of the melody and the rhythm, a composition dependent on the preserved elements of the original song. If the same sample graph was given to two different producers, it is very likely that we had two different results.