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This paper attempts to demonstrate the theoretical nature of artwork from Jane Alexander’s The Butcher Boys. The formal indeterminacy of this artwork is related to the ambivalence as mentioned by Homi Bhabha about deconstructionist theory. The author underlines the influence of poststructuralist theory on postcolonial discourse and considers the hypothesis that the problem of ambivalence and the critic of temporality are the main ideas that get The Butcher Boys in the center of postcolonial deconstructionism. From this point of view, the artwork is analyzed in relation to time, memory, and history in view of South Africa’s historical events. The author demonstrates what he names the corporeity of memory as the support of making history.