Martyrs Square, located in the center of Tripoli, Libya, underwent dramatic transformations during the colonial and post-colonial periods. The square was originally established by the Italians in the 1920s, and named Piazza Castello after a historic castle adjacent to it. Piazza Castello was the central colonial public square in Libia Italiana despite the preexistence of another nearby eminent square, Piazza Italia. Piazza Castello was the perfect example of the showcase of power through the use of space since it was the center of the political activities of the colonizer. During the Fascist rule, the piazza witnessed political demonstrations and ceremonial welcoming of the Italian Kings and the Fascist leaders. The piazza also mirrored the colonizer’s hegemony through the placement of colonial monuments, such as the Roman she-wolf, Emperor Septimius Severus’s and Il Duce Benito Mussolini’s statues. After the independence of Libya in 1951, Piazza Castello was renamed Sahat al-Qalaa – Arabic translation of the Italian name, maintained its central position among the city’s citizens. The then Libyan government took certain actions to make the square a symbol of national identity. Some of the sculptures, which had been placed by the colonizer, were replaced by other ones that reflected Libyan values. Whereas some others was left in the square such the Emperor’s statue. The creation of colonial public space in Tripoli during the Italian colonization has been studied by Kristin von Henneberg, Brain McLaren and Mia Fuller to name a few. The focus of these scholars ranged from the hybridity in the conception and use of colonial public space to colonial ideologies and intentions behind their creation. However, the process of the intentional shift from civic to monumental colonial public space during the building of the colony has been inadequately addressed. This paper first demonstrates the role that the artifacts, which were displayed in Piazza Castello, played in expressing the hegemonic nature of the relationship between the colonizer and the colonized. Then, it determines how the latter applied certain representational practices to re-appropriate the use of these sculptures in a post-colonial context as a way for addressing an identity of the newly independent country.