Yael Bartana is interested in questions of group dynamics and leadership. In politics as in messianism, faith is often placed in one person’s ability to guide their followers to a better future. The Undertaker portrays an enigmatic leader guiding a group of armed followers on a ceremonial march. Bearing firearms from various historical contexts and accompanied by people dressed in uniforms from the American Revolution, the group strides down the streets of Philadelphia, the birthplace of US democracy. The procession concludes at Laurel Hill Cemetery, where the group buries its weapons in the tradition of some North American indigenous peoples. The participants’ choreography draws on a 1953 composition by Noa Eshkol (1924–2007). Rather than a memorial to the dead, Bartana’s symbolic burial is a monument for the living, an invitation to consider our bodies as both carriers of trauma as well as vehicles for hope and resistance.