Is Mostar’s Bruce Lee statue an ironic conceptual art piece, a heartfelt memorial to mass atrocity, or both? Many monuments in the former Yugoslavia amplify existing divisions and fail to provide for multi-ethnic collective remembrance. In Sarajevo, for example, a group of Bosnian Serbs recently attempted to construct a large commemorative cross overlooking the city, an act seen as a provocation by many Bosniaks living on the Eastern side of the city. In a playful yet serious-minded way, the artists who created the Bruce Lee bronze sought to undermine this adversarial dynamic by creating a narrative that could unify all Bosnian national groups. Nino Raspudić, the co-founder of Urban Movement Mostar, praised the use of a popular culture symbol as a deliberate rejection of the “great narrations” that had spurred violence and deeply politicized even the minutia of everyday life in the region.¹ Similarly, the popularity of Bruce Lee as a childhood hero in Bosnia, evidenced by the Mostar statue, indirectly questions traditional concepts of ‘ethnic identity’ in a world of increasingly global cultural references.