Based on the analysis of files from the Department of Defence, and drawing on interviews with veterans and on their associations’ press, the article focuses on the Algerian War National Memorial in Paris, its long gestation and particularly its double, paradoxical status: that it is at the same time new and old, post- ideological and hyper-ideological. Thanks to its palimpsest configuration, this ‘third millennium memorial’ – as it was described by its creator (the artist Gérard Collin-Thiébaut) – has demonstrated itself to be perfectly tuned to that peculiar mode of relationship to the past that we can define as ‘postmodern’, a mode that is characteristic of what historian François Hartog called the presentist ‘regime of historicity’.