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This paper reflects on the significations of the 'mental life' of the city that are represented by the material symbols on display. In trying to comprehend the public display of fascist era 'art' in the city of Trieste, it addresses an example of trying to make sense of the 'impossible'. Reassured of the contested nature of such displays, the paper reflects further on the power of symbols in fascism and how different countries have addressed their legacy. Confirmed of their danger, we examine the risk of leaving their significance unanalysed and contextualise this in a comparison of the respective approaches of Italy and of Germany. We also consider the potential impacts of toleration, and normalisation, of such artefacts. [ABSTRACT FROM AUTHOR]