Muñoz’s walk to 5 Cornelia Street uncovers the traces of Herko’s queer, dancing, flamboyant, and twitchy finale performance that reanimates the not-yet-here nature of Herko’s death. Herko’s immortal traces line Muñoz’s thoughts and perceptions of a time and space. The not-yet-here is brought in as Muñoz enters the record store and reflects if Herko’s life would have been amplified or dampened if he lived at another time. A queer critique is left wondering when it is appropriate to leave behind immortal traces. Where else can queer critiques learn about other Herkos never jete’d traces into history because they were not-yet-here?