History Misinterpreted Into Stone: (Un)Doing Eco-art Monuments in Iceland is a practice-led project that blends installation, discursive site-specificity, different “fields” of acoustic communication, and analytical writing. I study three popular ecotourism destinations in Iceland produced by non-Icelandic artists (Kühn’s Tvísöngur, Serra’s Áfangar and Horn’s Library of Water). I warp these environmental artworks into sites of critique to ask key questions about colonialism, environmental ethics, conservation, and the long-standing issue of non-Icelandic artists who romanticize nature vis-à-vis Iceland’s landscape. [***] Located in the east Iceland town of Seyðisfjörður sits a "silent" sound art sculpture by Lukas Kühne. The title of his sculpture is Tvisöngur. This Icelandic term—tvisöngur (double-song)—refers to polyphonic scores dating from the late fifteenth century, to a type of Icelandic oral folk practice called rímur, and to a more elaborate singing style where two individuals sing text by crossing their voices among musical intervals of unison, fifth, and sometimes a third. However, the presumed resonant frequencies of the five concrete domes of Kühne’s sculpture follow the F Lydian mode, with the largest dome holding a resonant frequency of 176Hz. Using radio sound I played these resonant frequencies into each dome. In an old fish factory, about four kilometers from the concrete sculpture, I installed a five-channel pirate radio station to complete this task. My intervention with Kühne’s sculpture opened during the 2017 Seydisfjordur Light Festival.