This essay examines how public memory is visualized in the statue to Canada's "gay pioneer," Alexander Wood. By analyzing three viewing positions of the statue--the official democratic memory, traditionalist countermemory, and camp countermemory--I argue each position enacts a distinct form of remembering Wood with implications for both materializing queer memories and how space and identity are understood in the city. Based upon these visualizations, I extend arguments for how rhetoricians critique memory texts and contribute to defining "queer public memory" in light of this statue. (Contains 2 figures and 102 notes.)