In Como Si Fuera Piedra la Arena / As If the Stones Were Sand, a video documenting Lagomarsino’s quiet intervention at the Ny Carlsberg Glyptotek in Copenhagen, the artist discreetly pours sand from the Mediterranean coastline at the feet of Greek statues – an act that is both a return and a disruption. The sand, carried from the shores where these sculptures once stood, recalls their origins while unsettling their placement in a foreign museum. It is a poetic gesture – an offering, an act of restitution, as if restoring the statues' connection to their own land.

The title Como Si Fuera Piedra la Arena / As If the Stones Were Sand is drawn from Jorge Luis Borges’ poem Fragmentos de un Evangelio Apócrifo (1969). The phrase encapsulates the transformation of solid rock into sand, the erosion of time, and the inevitable dissolution of what once seemed permanent. It speaks to history’s fluidity – how power, memory, and meaning shift and reshape across time.

The Greek sculptures, removed from their homeland and displayed in a Danish museum, become a focal point for questions of displacement, ownership, and the narratives we construct around cultural artifacts. The sand – a fragment of their past – insists on their history, quietly unsettling the authority of institutions that frame them as timeless. Like the shifting meanings of monuments, this act exposes how history is never static but always in flux, shaped by the forces that construct, protect, and ultimately contest it.