On 11 June 2020 in Lisbon, 4 days after the anti-racism demonstrations that took place in several Portuguese cities following the killing of George Floyd, the statue of the Priest António Vieira (1608-1697) was splattered with red spots and inscribed with the word 'decolonise'. Considering Portugal's prominent role in the transatlantic slave trade, the country's enduring celebration of the 'Discoveries' 1 and the ever-present urban memorialization of the colonial past, it was to be expected that Portugal would be included among the countries in which there are increasing calls for the removal of symbols associated with colonialism and slavery. However, in a country where statues of key figures of Portuguese colonization, and monuments honouring the veterans of the Colonial War 2 are so abundant, it may not be obvious why activists focused their attention specifically on someone who, at first sight, appears to be a minor actor in Portuguese colonial projects. The formal inscription on Viera's statue -'Jesuit, Preacher, Priest, Politician, Diplomat, Defender of the Indians 3 and Human Rights, Fighter Against the Inquisition' -though containing inaccuracies, hints at the complexity of the priest's life, namely the dimensions that make him such a controversial figure.The statue became a target of criticism largely because it dates from 2017, a time when anti-racist activism was becoming more visible in denouncing daily racism and police violence, when new historical perspectives on colonization and scholarship on the politics of memory were gaining visibility in the media and when the brand 'African Lisbon' was enthusiastically embraced by the blossoming tourism industry. The meanings ascribed to the statue were perceived by its critics as expressing a confluence of anachronism, lack of social sensitivity and persistence in ignoring the perspectives of the colonized on colonialism. Inspired by a famous 18th-century engraving, the statue depicts Viera as a missionary who holds a cross in a gesture suggesting the brave protection of three naked Amerindian children, 4 thus emblematically reproducing colonial tropes, which reaffirm the subalternity and 'helplessness' of the colonized and the 'goodness' of the missionary project. 5 That's how, precisely through this 2017 statue, Vieira became the focus of larger contestations over memory that are ongoing in Portugal, and which juxtapose two contemporary narratives about colonial legacies: on one hand, a