This essay on the work of artist and filmmaker Steve McQueen focuses on his museum based pieces Carib's Leaps, Western Deep, and Queen and Country. Each work deal with the intersection between history, memory, and visual culture. In turn, McQueen deconstructs the processes of memorialization by foregrounding people of colour whose stories have traditionally been marginalized in standard historical narratives. As such, his works also address the politics of forgetting in relation to institutionalized memory. At the same time, author Naomi Vogt analyzes McQueen's work through the lens of Pierre Nora's conceptualization of sites of memory.