Driving along Monument Avenue in Richmond, Virginia, one traverses the former Confederate capital from the wealthy West End to the central Fan district near the newly opened Virginia Commonwealth University’s Institute for Contemporary Art (ICA). Originally conceived in 1890 as tree-lined home to the memorial for Robert E. Lee, the commander of the Confederate States Army during the American Civil War and slave owner, the boulevard has since seen additions of other massive, plinth-mounted statues, including Confederate general Stonewall Jackson, Confederate president Jefferson Davis, and, since 1996, also incongruously and controversially African American tennis star Arthur Ashe. Half a mile from the Lee memorial, on the top floor of the ICA, Rashid Johnson’s exhibition “Monument” confronts the state of monuments, questioning collective consciousness and whose stories are granted visibility. The show couldn’t be more timely, as the American South is debating the legacy and future of its Confederate monuments, many of which were erected long after the end of the Civil War and well into the twentieth century. Johnson’s exhibition consists of the new work Monument (2018), a temple-like structure made from a steel shelving system coalescing references to Minimalism, like Sol LeWitt’s sculptures, and mass-produced IKEA furniture. The installation is …