At the same time he fills the exhibition space of Romantso with monuments of different sizes—the monument to the exiled, the monument to selfies, the monument to the centenary of the 1917 Revolution—and finally with an installation of hundreds of photographs.

In an age dominated by exploitation, hypocrisy and cynical transactions, when the crisis of an entire country is promoted as a spectacle, as an opportunity for all kinds of grave robbers, Baboussis puts his photos of the Rio Carnival, the empty seats of the Greek Parliament and the bouzouki nightclubs of the ’80s into a dialogue with the other memorabilia of democracy.