By digging beneath the surface, as in Salcedo's Shibboleth, Salcedo is reconnecting the building to colonial and postcolonial histories, to power, and to the creation of a grave truth: difference, otherness and the vast gap created by exclusions. She states that the “ideal of humanity [is] so restrictedly defined that it excluded non-European peoples from the human genre,” in which “the excluded have no hope of answering correctly.”
Salcedo wants us to remember that these wounds can not be put behind us; instead, she encourages us to “confront discomforting truths about our world and about ourselves with absolute candidness and without self-deception.”
Salcedo’s sculptures are of similar content, perhaps a prelude to what I believe to be her greatest work to date. 
