Black women in South Africa (SA) face multiple and interlocking systems of oppression every-day; among them gender-based violence, economic marginalization, and the legacy of racialized and gendered subjugation under centuries of colonization, followed by the apartheid regime. On the heels of South Africa's transition to democracy in 1994, the HIV/AIDS pandemic quickly overwhelmed health and social support systems, resulting in the highest AIDS incidence in the world, to this day. This article engages with a monumental artwork called the "Keiskamma Altarpiece," which was created by a group of (mainly) women in a rural area of the Eastern Cape province of South Africa. I "read" the "Altarpiece" as testimony and storytelling against the shaming and silencing of women's lives and experiences in South Africa, and argue that it calls us to become response-able to its witness. Using discourse and esthetic analysis, informed by post-colonial memory studies, I argue for better memory practices and increased awareness of the legacies of disease, and engage with Roger Simon's concept of remembering otherwise.