This dissertation contextualizes the construction and attitude towards monuments in the Republic of Croatia from 1991 to the present day. It is organized in the form of chapters or subchapters that correspond to dominant trends and issues within the main topic. Since independence, at least two thousand monuments of different shapes and themes have been built in the Republic of Croatia, with a tendency of stable growth. Their number and expressed interest in monuments in various forms represent a kind of monumentomania. In the shadow of this, older heritage of the same type has been neglected. The construction of monuments in the Republic of Croatia mainly arises from two creative circles, the "folk" and the one composed of artists and architects. Political forces also play a certain role in the formulation of public space and monuments. Monuments by self-taught authors are generally of lower quality, often created independently of any kind of competition and mostly in smaller communities. Contemporary Croatian monument production is predominantly dedicated to the experience of the Homeland War and its protagonists, and is often identified with that theme because of the number of monuments. The reason for erecting the first monuments in the Republic of Croatia were the war events and the need of people to perpetuate them for future generations. Dominant or identification motives on these monuments are the cross, cube, square, checkerboard, and interlace. This especially applies to monuments thematically related to the Homeland War and the independence of the Croatian state. These motives and generally geometric and abstract shapes (although many monuments are just variations of tombstones or memorial plaques) have become commonplace in contemporary Croatian monument production. Figurative monumental sculpture is mostly portraiture in nature. The overall assessment of figurative monuments in the Republic of Croatia is lowered due to poor quality of monuments dedicated to the first Croatian president. Figurative monuments found within various institutions generally are appropriate, albeit uncreative, artistic accomplishments. In addition to unimaginative motifs and semantic vagueness (especially in abstract monuments thematically related to the Homeland War and Croatian independence), one of the problematic trends within contemporary Croatian monument activity is the construction of monuments of religious themes dominated by commercial and tourist content, as well as accompanying promotional discourse. Due to the possible relativization of victims, memorial commemorative plaques dedicated to victims of all wars are controversial, and due to the issue of the individuality of each event and the auratic nature of the monuments, multi-location memorials with a similar purpose are also contentious (with the exception of Drinković's "dove"). The best examples of monuments in the Republic of Croatia are based on some kind of antimonumentality. Artists also think about monuments and related themes. They express themselves less through the construction of the monuments, and more through various types of interventions on existing monuments or installations that problematize national monument culture or the very concept of monuments.