'In Memory' takes the form of a small, private cemetery, placed within a poured concrete enclosure. The names with which the gravestones had been inscribed have been blanked out by the artist to create an unsettling erasure.

For 'In Memory', Nathan Coley acquired gravestones, that for various reasons had been removed from their former sites, and had the names with which they had been inscribed blanked out. A traditional sculptural gesture – that of carving – here joined an iconoclastic act and an appropriation, in the tradition of Duchamp’s readymades. The result is a set of unsettled and unsettling objects, in which the scoring out of a name at once suggests the erasure wrought by death itself and draws particular attention to precisely what is generic or cultural in private monuments – namely those forms of address or dedication that frame mourning.