This project is an archival case study of the multimedia artist and writer David Wojnarowicz. I discuss Wojnarowicz's legacy as a queer activist and public intellectual to explore the potential of his posthumous rhetorical agency. I define "posthumous rhetorical agency" as a process enacted by the living to facilitate the participation of the deceased in public life. I emphasize that developing a theory of posthumous rhetorical agency can fuel the "momentum of the archival turn" while also deepening a "commitment to the queer turn" in rhetorical studies (Morris and Rawson; Crichton). I establish that Wojnarowicz's archive possesses the ability to reach into the future with remarkable velocity to contribute to his posthumous agency because he drew on extant queer kinship networks and engaged multiple mediums as a visual artist, writer, musician, performance artist, and filmmaker. I extend Avery Gordon's position that haunting differs from trauma because haunting produces a "something-to-be-done" quality, which leads to an engagement with the present and a desire "to reveal and learn from subjugated knowledge." I argue that Wojnarowicz's legacy has a "something-to-be-done" quality about it. His legacy stands as an indictment of a nation lulled into apathetic indifference and cowed into fear of social difference: at a national level when the AIDS epidemic began, politicians and corporations were inexcusably slow to respond because the disease was assumed to infect only gay men and other "high risk" populations. Thus, in understanding Wojnarowicz's suffering - as an individual and, to take this line of argument further, as part of a collective of people with AIDS who died due to the US government's neglect of a public health crisis from which the "general public" was assumed to be safe - one can conceive of his posthumous legacy as a positive and needful presence that calls attention to the value of integrating a partially erased or forgotten history more fully into the nation's history. I conclude that a viable theory of posthumous rhetorical agency must attend to issues of how to responsibly and justly represent the work of those who have been systematically excluded, censored, or erased from the historical record.