Florida man Christopher Rodriguez recently pleaded guilty to a series of bombings, including the destruction of a unique artwork in San Antonio, Texas. Rodriguez, a 45-year-old attorney from Panama City, took to extreme lengths targeting a 21-foot-tall sculpture that ironically satirizes one of China’s most infamous leaders, Mao Zedong.
Christopher Rodriguez’s First Attack
Rodriguez’s story reads like something out of a strange crime novel. In November 2022, he drove from Pensacola to San Antonio, where he broke into a downtown courtyard in the dead of night. His target? A stainless steel sculpture by the Gao Brothers titled “Miss Mao Trying to Poise Herself at the Top of Lenin’s Head”. The sculpture, which stands at an imposing 21 feet and weighs a hefty 8,800 pounds, features a tiny, naked Mao Zedong balancing precariously on the head of Soviet leader Vladimir Lenin.
Why would Rodriguez go after such an artwork? Well, the piece itself is a satirical take on the power dynamics between two of history’s most significant communist leaders. It comments on the influence Lenin’s philosophy had on Mao and, in a broader sense, critiques the idolization of Mao during China’s Cultural Revolution. The Gao Brothers, who created the piece, have a personal connection to this history, as their father was executed during Mao’s reign.
A Failed Attempt
After placing explosives at the base of the sculpture and shooting at them with a rifle, Rodriguez caused significant damage to the piece. A few months later, in September 2023, Rodriguez attempted to bomb the Chinese Embassy in Washington, D.C., though his efforts failed when the explosives didn’t detonate.
Now in custody, Rodriguez faces serious charges, including damaging property occupied by a foreign government and possession of unregistered firearms. His actions highlight a dangerous intersection of personal vendettas and public destruction, raising questions about the lengths to which some individuals will go to express their grievances.
The sculpture, *Miss Mao Trying to Poise Herself at the Top of Lenin’s Head* remains a powerful commentary on history and power, even in its damaged state. It’s a reminder that art often stands at the crossroads of cultural and political discourse, sometimes becoming a target.
