My chapter highlights the social, political, and economic implications of the memorialisation of the Berlin Wall and the erasure of official monuments and buildings that this period of East German politics had left behind. First contextualising the construction of the Berlin Wall within the Cold War and the geopolitics of the 1960s, it then focuses on four case studies that reflect the range of responses to its fall, from artistic interpretations to the urbanistic and museal products of more official decision-making and cultural policy. While French artist Sophie Calle’s The Detachment (1996) is an artistic project that re-memorialises GDR memorials and state symbols that had been obliterated by the West and can be more clearly understood through the sociological framework of Halbwachs’s notion of “collective memory,” British artist Tacita Dean’s film Palast (2005) is a poetic attempt at rehabilitating the GDR Palace of the Republic which was considered a symbol of the old regime. Conversely, the Potsdamer Platz, whose reconstruction program started as soon as 1989, was sadly reduced to “tokens of memorialisation” by local government and major corporations. The organisation that represented the Berlin Wall Memorial from 2006, however, stopped the wall’s destruction process, thus preserving a strip of the border fortifications and exemplifying the former German division. Examined through the lens of concepts which Didi-Huberman had developed from Aby Warburg’s “Mnemosyne Atlas,” the section shows how the memorial’s commemorative practices address and convey the more local, painful memories as well as the victims’ perspectives, and thus provides a more meaningful historical contextualisation of this difficult period.