While I do not yet feel comfortable advancing these images as potential fodder for what Jose Esteban Muñoz imagines as “queer utopian memory” [14] or as case studies for Ibrahim Abraham’s intriguing comparison of the closet and the veil [15], Princess Hijab’s visual and spatial interventions emphasis the importance of addressing a queer subject identity within the specific terms of its creation. For this reason, I now turn to “place-making” conceptualizations of bodies performing acts of migration and transport, and the identity informing memories they incur within the specific social environment of the Paris metro [16].