In the mayor’s rush to diversify city monuments he’s trampled on history by locating the statues in places that have nothing to do with the actual people being honored, say critics.

They single out three planned monuments that will be built at historically head-scratching sites.

Black activist Elizabeth Jennings Graham’s monument will be erected at Grand Central Terminal, far from where she was kicked off a streetcar at Chatham and Pearl Streets in Lower Manhattan in 1854.

A sculpture of the Lyons family, black abolitionists who ran an underground railroad stop out of their 330 Pearl St. property, will be placed on 106th Street.

And Billie Holiday’s statue doesn’t yet have a home in Manhattan, but activists want her placed in the Addisleigh Park neighborhood in Queens where she and other jazz greats lived.

“Billie Holiday should be at home and home is here with us, that’s how I feel,” said Lisa Wade with the Addisleigh Park Civic Organization.

The puzzling locations violate the city’s own guidelines for putting public art in sites tied to the history of the proposed subject, said Jacob Morris, head of the Harlem Historical Society.

“Connecting memory to historical place is especially important for black history, which involves constant dispossession and the obliteration of memories and signals of place,” Morris added.

City Hall spokeswoman Jane Meyer said, “These individuals have impacts that reverberate throughout the City and beyond.”

“A number of factors are considered when selecting sites for these important monuments, including feasibility, cost, historical significance, contemporary context, and public prominence,” Meyer said.