Call it a tale of two statues — and inspiring works at that. One is a searing sculpture of a woman falling through the air from the World Trade Center on 9/11. The other is a heroic bronze of an American soldier riding into battle on a horse.

The soldier on horseback will be dedicated Tuesday at its new, permanent site in Liberty Park. It’ll overlook Ground Zero and the September 11 Museum, which is exhibiting, at least for a while, the bronze known as “Tumbling Woman.”

Each sculpture is, in my humble opinion, a masterwork, inspired by the horror of 9/11 and the heroism with which our country arose to battle. Each testifies to the incomparable capacity of art to stir the human spirit.

“Tumbling Woman” — a female nude, upside down, as she is falling to her death from a burning tower — was sculpted by artist Eric Fischl. After a brief display at Rockefeller Center in 2002, it was taken down.

That happened after Andrea Peyser wrote in the New York Post a famous column saying that the sculpture horrified many who encountered it. “Is this art or assault?” she asked. It was returned to the artist’s studio on Long Island.

Now, Ms. Peyser reports, “Tumbling Woman” is back, at least for a while. It is part of an exhibit called “Rendering the Unthinkable: Artists Respond to 9/11,” which has just opened at the museum at Ground Zero.

Ms. Peyser asks whether “Tumbling Woman” is still “too raw, too emotionally disturbing for public display?” She reckons that now, 15 years after 2,606 persons perished at Ground Zero, we’ll find out.

Mr. Fischl himself has offered to donate the artist’s proof of the statue for a permanent home at Ground Zero. We didn’t get a second chance the last time a major work of art was banished from Rockefeller Center.

That was Diego Rivera’s Marxist fresco, “Man at a Crossroads,” which glorified the communist thug Vladimir Lenin. In 1934, Nelson Rockefeller himself had Rivera’s fresco destroyed before it was completed. Rivera recreated from photos a version now installed in Mexico City.

As New Yorkers seek a second chance to consider “Tumbling Woman,” they’ll walk by the American horse soldier riding into Afghanistan. It’s known as America’s Response Monument, or “De Oppresso Liber.”

The Latin — “to liberate the oppressed” — is the motto of Army Special Forces. Shortly after 9/11, a band of these elite soldiers was dropped into northern Afghanistan, where they chose horses as the best way to get into our first battle of the 21st century.

That derring-do marked the first time since 1943 that American GIs had ridden horses into battle, according to CNN. The network quoted one officer in the chain of command, Lieutenant Colonel Max Bowers, as saying, “It was like out of the Old Testament.”

The Special Forces horse soldiers were part of an American task force, called Dagger, that has been credited with an important role in the quick defeat of the Taliban regime that had harbored Al Qaeda and Osama bin Laden in Afghanistan.

No wonder a group of businessmen, animated by patriotic sentiments, raised the funds for the statue, which is one and a half times life size and cast in bronze. The artist is sculptor Douwe Blumberg.

“De Oppresso Liber” was formally dedicated in 2011; Vice President Joe Biden spoke at the ceremony. Thereafter, it was kind of lost amid the understandable clutter of construction. Visitors looking for it had to peer through a chain link fence at Vesey Street.

The statue has now been moved to its permanent home in Liberty Park, an elevated space on the south side of Ground Zero. That’s where today’s dedication will be held. Mr. Blumberg will be present.

America’s Response Monument is one of the few memorials in honor of military glory to go up recently (the “Harlem Hellfighters” obelisk was dedicated in 2006), and great statues are at a premium. In a phone call Sunday Mr. Blumberg reminded me of why.

Art comes in, he suggested, “to communicate after the point where words leave off,” and does so in a “form of communication that doesn’t have language barriers.” What a moment for “Tumbling Woman” and “De Oppresso Liber” to exert their mute messages.

This column first appeared in the New York Post.