This article aims at revisiting the Barthesian opposition between two possible functions of the verbal text in a multimedia and plurisemiotic whole: that which Barthes calls anchoring and that which is relaying additional information. First, we analyze the constraints imposed by the genre of the war memorial on the interaction between the texts (verbal inscriptions relaying historical information) appearing on the base of the Luxembourgian Gëlle Fra (“Golden Lady”) and the allegoric sculpture that adorns it. Second, shifting our attention to the “renunciation” of the Luxembourgian war memorial through a subversive installation artwork by Sanja Ivekovi&cacute;, we examine how the two functions, once they have been adjusted, explain the multiplication of meanings. Finally, we ask ourselves how the exhibition in a museum not only of the artwork itself, but of verbal and visual material documenting the reception by the public, changes the installation’s specific identity, especially when a parallel is drawn between the exhibition and the execution of an allographic work of art.