… the Nazis … mass-distributed images of [Albert] Speer’s models in the form of postcards. The monumental effect of architecture could just as easily, perhaps even better, be achieved, say, by a high-angle, totalizing image of architecture. No need to even build the real thing. For years after the war, many Germans mistakenly believed that Speer’s Berlin projects had actually been built and then destroyed in the last stages of the war.

Thus fifty and some years later, our own monumental seduction may be no longer tied up with real built space at all, certainly not with the mammoth shopping malls in the middle of nowhere, nor with international airports and their mass circulation of people and commodities, both of which are physically uncoupled from the traditional site of public space: the living city. No wonder, then, that some will look for the new public space on the Internet, our very own monumental seduction that holds the promise of conquering both time and space and that gives new meaning to McLuhan’s phantasm of an electronically unified global culture. Monumentality today may all be in cyberspace and the information highway. The Germans, at any rate, in seamless and oblivious continuity with another monumental Nazi project – the building of the Autobahn – call it Infobahn, and Deutsche Telekom, in a recent ad in the New York Times, has described without hesitation as the ‘fast lane to the future’. Monumentality is alive and well. We may in fact have to consider a monumentality of miniaturization, for the world wide web is in principle the most gigantic undertaking of our age, as promising to some and threatening to others as any monumentalism has ever been.

– Andreas Huyssen. “Monumental Seduction: Christo in Berlin.” In Present Pasts: Urban Palimpsests and the Politics of Memory. Stanford, Calif: Stanford University Press, 2003: 47-48.