In many ways, 'Demolished' can be seen as a reaction to the demolition of her own monumental work, 'House' from 1993: "I like the notion of the work being the mould of an explosion,, or maybe an 'implosion', like casting a black hole - Pompeii was the mould of an explosion." (R. Whiteread, in: 'Art from the UK', Muncih 1998, p.159.) In both works, 'House' and 'Demolished', Whiteread takes as her theme the demolition of housing property for the lower middle-class in poorer areas of London. Just as 'House' was a ghost of the building that once stood in its place, 'Demolished' depicts the process by which an object is removed from a particular space, while at the same time being forever present in the memories of individuals. These works, along with her 'Holocaust Memorial' in Vienna, demonstrates Whiteread's socio-political involvement and clearly place her within a category far more complex than mere neo-minimalism.