In her 1931 essay devoted to Elizabeth Barrett Browning, Virginia Woolf argues “her ‘intention’ survives; the interest of her theory redeems much that is faulty in her practice”. One could wonder to what degree that statement and its reversed alternative – “the interest of her practice redeems much that is faulty in her theory” – apply to the contemporary reception of Virginia Woolf herself. This paper attempted to answer that question by exploring how the fault lines of Woolf’s heritage run alongside the intersectional fractures of gender, class and race that pervade British culture, while focusing on the “statue wars” Woolf was drawn into in February 2022, as Camden council put Woolf’s bust in Tavistock Square under review.