The article consists of two parts. The first part (§§ 1–2) investigates the indiscriminate and absolute remembering and forgetting of everything, hypermnesia and amnesia as the extreme terms that research has used and uses for the different phenomena of memory, both in individuals and in social and political forms. In the face of these shifts it is thus indispensable to re-establish a critique of the paradoxical effects of memory aids and, at the same time, to seek new forms of remembrance that by mixing an experiential dimension and public sphere refocus the attention on the connection between latency, tension and experiential triggers of involuntary memory and on the ability to break through the fictions of collective memory. On this basis, the second part of the article (§§ 3–4) analyses how the experience of political and racial deportation during World War II drastically changed the idea of memorial architecture. More specifically, the analysis deals with a kind of memorial device that must represent and memorialise persons whose bodies have been deliberately cancelled. The aim is to present and analyse the artistic and architectonic efforts to refer to those forgotten bodies, on the one hand, and on the other hand to point out how for these new kind of memorials the body of the visitor is asked to participate, both physically and emotionally, in this somehow paradoxical search for lost bodies, offering oneself as a substitute.