In this chapter, I contemplate and dialogue with a sculpture submerged into the land, in the central city of Cape Town. Crying for Justice – a site-specific public installation/sculpture by Haroon Gunn-Salie – resides next to the Castle of Good Hope, situated within what is at once a historical site, a museum, an exhibition space, and an urban texture in a contested part of the city. The monumental artwork by Haroon Gunn-Salie caves inward, towards the below ground, offering a starting point and anchor to consider visualities beyond dominant modes of seeing. The sedimentary, alluvial, micro-agential nature of this monument, etched into the cityscape, in the ground and subsoil, invites embodied and relational ways of knowing, asserting ongoing relationships between the living and no-longer-living, between people and land, monument and community, architecture and ancestors. Through the presence of this work, and the existence, echo and cry of the word ‘JUSTICE’, spelled out and submerged in the ground, the unfinished nature of imperial structures and logics is laid bare. This artwork through its spatiality, its haptics and materiality, moves us from an optic of monuments and ruins towards space-times and sculptural interventions that speak to colonial processes as ongoing and unfinished, allowing for a consideration of the ‘deeply saturated, less spectacular forms in which colonialisms leave their mark’. A submerged sculptural work, woven into the landscape, looks different from the ground than it does from the air. The different fields of vision, rather than juxtaposed one against the other, emerge in the traffic between positionalities and views. They open towards differently perceivable worlds, worlds of entanglement, comingling and both visible and invisible co-inhabitants of space and time.The invisible graveyard beneath the monument, the spaces of public execution and punishment that lie hidden beneath the palimpsest of the city that this monument occupies – demands that we slow down time, to expand and contract temporalities, pushing back against the rushed, fast-paced productive time of capital.