Jorge Otero-Paulos recently noted, “preservation has looked at art to expand the aesthetics of memory, cultural trauma, historicity, and temporality.” 
It is impossible to show the entire two facets of this boulder as it sits within the closely-installed, tall iron fence's lurking surround. The Wallula Stone is somewhat irregular, so there is no single perspective that can capture it. A magnificent massive fragment of basalt column tumbled from the cliffs of Wallula Gap, or perhaps arriving from upriver, as a local erratic, during the ice age. Then carved. And, now, far from its mother river.
The reflective light of the morning sun illuminates the hard basalt’s deeply patinaed surface with a soft sheen, the ancient polish of the stone itself, natural or human made, from wind, water, perhaps rubbing hands.
As now placed, its sheer mass is visually constrained, gridded by the fence and memorial enclosure. However, it is protected and honored. It's surprising the stone or its carvings show little noticeable modern disfigurement. Well, except for the anchored-in bronze plaque, which the Tribes left in place . Odd, had not the railroad fellows hoisted it on a flatcar in 1910 (the tracks were happily nearby), it may have been submerged in the mid-1950s under a hundred feet of water, inundated by the McNary Dam’s Lake Wallula!
 Jorge Otero-Paulos defines preserved artworks as “transitional cultural objects … for looking back at our immediate future from the point of the view of a distant future … a temporal expression … as the future anterior.” (“Remembrance if Things to Come, ”ArtForum, April 2014:115-116.)
 A ten-ton monolith, originally located on the Columbia River near Wallula Gap on the Oregon border, the Wallula Stone was displayed in outdoor courtyard of Portland City Hall from 1910 until 1996. The basalt petroglyph boulder became the centerpiece of the newly constructed Nix-Ya-Wii Warriors Memorial of the Confederated Tribes of the Umatilla Indian Reservation, in Mission, Oregon, on July 26, 1996.
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