In "Mementos," Marshall’s first large-scale multimedia installation, four banner-like paintings dominate the space. The scene of each "Souvenir" painting is a middle-class living room, modeled after the domestic interiors of the artist’s own extended family. In each work, an angel of annunciation assembles flower arrangements on coffee and end tables, gazing out at the viewer. The perspective and scale of the paintings is such that one could imagine stepping into the work itself, joining the angel for tea or discussing the dearly departed. An intriguing aspect of the each painting is the degree to which Marshall faithfully represents the objects in each living room. From the patterned wallpaper of "Souvenir I" to the "Ebony" and "Jet" magazines of "Souvenir II," every detail is accounted for. This devotion to the everyday reaches an uncanny synthesis in "Souvenir IV," where throughout the space are scattered paintings and sculptures of African origins. Ordinary and yet locked in time, Marshall’s domestic scenes are evocative of the ancient Egyptian practice of burying the dead with the daily things necessary for a life after death, including food, furniture, and treasures.

Pictured in a bubbly cloud above the living room of "Souvenir IV" are pictures and names of musicians, including John Coltrane, Billie Holiday, Skip James, Nat King Cole, Sam Cooke, Otis Redding, and Jimi Hendrix. Each figure in the sky is outfitted with screen-printed angel’s wings. "Souvenir I" and "Souvenir II" feature depictions of well-known political figures such as Medgar Evars, Malcolm X and Fred Hampton, as well as lesser known martyrs such as Viola Liuzza, Jimmie Lee Jackson, and four young girls killed in a church bombing in Birmingham. The pantheon broadens in "Souvenir III" to include the artist Bob Thomson, philosopher W.E.B. DuBois, actress Dorothy Dandrige, and writers Langston Hughes and Zora Neal Hurston, among others. In total, the four paintings tally a substantial loss to American politics, arts, letters and music.

Painted in a flat, popular illustration or greeting-card style, the first two paintings in the series are in full color while the second two are done in grisalle, a black and white technique used in old-master narrative painting. Like black and white photographs, these later monochrome paintings have an removed, stark quality – even with the addition of kitschy, silver glitter accents. In the tradition and scale of history painting, the "Souvenir" works subtly break with this event-oriented tradition by marking a period of history instead of representing a specific action or struggle. Modeled after a commemorative felt banner popular in the 1960s – featuring the portraits of the slain leaders John F. Kennedy, Martin Luther King, and Robert F. Kennedy – each "Souvenir" painting incorporates an image or aspects of the banner such as a faux-tassle glittery border or the phrase “We Mourn Our Loss.” An extension of the themes of this historical banner, Marshall’s paintings commemorate those individuals who died between 1959 and 1970 - a time commonly referred to as the Civil Rights era.