In 1995 and 1996 he completed two […] important projects for public spaces. One was an installation for the first Capital Days festival involving live animals exhibited in cages in the city’s main squares (rooster, goat, ram — large part of the arsenal of Lithuanian curse words — to show that Vilnius essentially remains a village, despite boosting its morale as an independent capital). The other was the architectural part of the monument to the American musician Frank Zappa. [Ozarinskas joined the initiative with great enthusiasm, although he was not one of its originators.]

The monument was the idea of Saulius Paukštys and Saulius Pilinkus, who, alongside Konstantinas Bogdanas Junior, were largely responsible for a series of art pranks and group exhibitions in the mid-1990s. Zappa’s sculptural portrait was made by Konstantinas Bogdanas Senior, whose other work today comprises a substantial part of Grūtas Park. 

The monument to the musician who never visited Lithuania and had no personal connections to it was unveiled in the centre of Vilnius on the same day that Boris Yeltsin gave his Russian president’s oath. These were the two main news items of the day in Lithuania. In a city trying to break free of Soviet restrictions, the monument first became a symbol of free expression, and later a symbol of critique of the traditionalist and opportunistic public space politics of the city itself. ‘The monument to this day reminds us not so much of Zappa but of the time when it seemed that everything is possible and nothing will restrict creative freedom ever again’, Agnė Narušytė will write in 2014. Notably, permission to build the monument was obtained by means of ‘creative silence’: by refraining from commenting, the initiators fostered the tentative belief that the musician was a Litvak. In 2010, a replica of the monument was erected in Baltimore, Frank Zappa’s native city.

– Virginija Januškevičiūtė, ‘Scripts for Public Spaces’, in Architect without Architecture? A Retrospective of Valdas Ozarinskas: exhibition guide, ed.: Virginija Januškevičiūtė, Vilnius: Contemporary Art Centre, 2018, p. 15.