Renowned artist Kara Walker has unveiled her transformative sculpture "Unmanned Drone," a haunting reimagining of a Confederate monument that was toppled and subsequently entrusted to her care. The work, which serves as the centerpiece of the "Monuments" exhibition at the Geffen Contemporary at MOCA, represents one of Walker's most ambitious explorations of racial identity and historical memory in American culture.
The original equestrian statue of Confederate General Stonewall Jackson was erected in 1921 beside the Albemarle County Courthouse in Charlottesville, Virginia. Following widespread civil rights protests and calls for the removal of Confederate monuments, the 13-foot-tall statue was toppled in 2021 and officially deeded to Walker, who was commissioned to transform the controversial piece into a new work of art.
Walker's "Unmanned Drone" presents a dramatically altered vision of the original monument. The sculpture appears as a mangled, chimeric form where both human and horse limbs have been reorganized into a confusing yet compelling spectacle. Despite being dissected and reconstructed, the work remains recognizable while weaving an entirely new narrative for the Confederate soldier it once depicted.
In Walker's powerful reinterpretation, Jackson no longer charges heroically into battle atop his steed with chest proudly thrust forward. Instead, the figure has been subjected to a symbolic beheading and now drags himself through what appears to be a strange purgatory using centaur-like legs. His sword dangles limply to the ground, serving as a visual reminder of the status and power he once possessed but has since lost.
The artist, who has built her career exploring themes of racial identity particularly within the context of the Civil War era and the American South, views "Unmanned Drone" as perhaps her most significant foray into these subjects. The work represents a literal dissection of a historic monument to white supremacy, a responsibility that Walker does not take lightly.
"I read about [Jackson's] horse, which is a major part of the dynamism of the piece," Walker explained in a catalog interview with Hamza Walker, director of the Brick. "I was thinking that, in some regards, this act of reclaiming the sculpture required an act of butchery. 'Unmanned Drone' is as much a butchering as a rectification."
During a preview for the "Monuments" exhibition, Walker reflected on the deeper significance of her work with the Confederate statue. She noted that creating the sculpture provided a space for meditation on such monuments and the power, values, and myths they have carried throughout American history, while offering an opportunity to redefine those narratives. "There's a healing aspect to doing this show, I think," she said.
The "Monuments" exhibition, which has been in development since 2017, brings together ten decommissioned monuments alongside newly commissioned and existing works by 19 contemporary artists. The comprehensive show examines how contested historical objects are perceived in today's society while exploring the various functions monuments have served in the past, present, and future.
"Encountering the monuments indoors—removed from their pedestals, some bearing traces of protest, and installed among contemporary works—provides a significant shift in context for the objects," explained Bennett Simpson, senior curator at MOCA. "We believe it is important to speak openly about their circumstances and intended function. And we considered our mission-driven organizations as good locations for the task—to grapple with changes in contemporary aesthetics and historical memory alike."
The "Monuments" exhibition is currently on view at the Geffen Contemporary at MOCA through May 3, 2026, offering visitors an extended opportunity to engage with Walker's transformative work and the broader questions it raises about memory, history, and the role of public art in American society. More information about "Unmanned Drone" and the complete exhibition can be found on MOCA's official website.
