Properties London Whiteread's Monument, by an artist already notable for her controversial Turner Prize-winning work House and the Judenplatz Holocaust Memorial in Vienna, was a cast of the plinth in transparent resin, and placed upside-down on properties London top of the original.[8] Following the exhibition project, some wished to see it continue in this role.

Various companies have used the plinth (often without permission) as a platform for publicity stunts, properties London including a model of David Beckham by Madame Tussauds during the 2002 FIFA World Cup.[5] The London-based American harmonica player Larry Adler jokingly suggested erecting a statue of Moby-Dick, which would then be called the "Plinth of Whales". A television ident for the British TV properties London station Channel 4 shows a CGI Channel 4 logo on top of the fourth plinth.[9]

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The square has become properties London a social and political location for visitors and Londoners alike, developing over its history from "an esplanade peopled with figures of national heroes, into the country’s foremost place politique", as historian Rodney Mace has written. Its symbolic importance was demonstrated in 1940 when the Nazi SS developed secret plans to transfer Nelson's Column to Berlin properties London following an expected German invasion, as related by Norman Longmate in If Britain Had Fallen (1972).
Trafalgar Square, 1908.

A 360 degree view of Trafalgar Square in 2009

The fourth plinth on the northwest corner, designed by Sir Charles Barry and built in 1841,[5] was properties London intended to hold an equestrian statue of William IV, but remained empty due to insufficient funds.[6] Later, agreement could not be reached over which monarch or military hero to place there.

In 1999, the Royal Society of Arts properties London conceived the Fourth Plinth Project, which temporarily occupied the plinth with a succession of works commissioned from three contemporary artists. These were:

* Ecce Homo, by Mark Wallinger (1999)
* Regardless of History, by Bill Woodrow (2000)[7]
* Monument, by Rachel Whiteread (2001)

Wallinger's Ecce Homo – the Latin title of which means "Behold the man", a properties London reference to the words of Pontius Pilate at the trial of Jesus Christ (John 19:5) – was a life-sized figure of Christ, naked apart from a loin cloth, with his hands bound behind his back and wearing a crown of barbed wire (in allusion to the crown of thorns). Atop the huge plinth, designed for larger-than-life statuary, it looked minuscule. Some commentators said that, far from making the Man look insignificant, his apparent tininess drew the eye powerfully; they interpreted it properties London as a commentary on human delusions of grandeur.[citation needed]