Alongside this heritage of queer art are also site-specific, contemporary works that address the here and now. Notable among these is non-binary drag artist extraordinaire Victoria Sin’s A View from Elsewhere, Act 1, As She Postures in Context; a multimedia fantasy wherein she explores the materiality of the queer body. Projected onto white sheets, Sin’s performance stakes a claim for the queer gaze, a concept that is very new still and finding its feet in an art world dominated by a male, heterosexual viewpoint.
Multiplicity is at this exhibition’s very core. There is no one artistic medium or form of expression that is favoured over others, which emits a sense inclusivity and celebration of humanity’s massive spectrum of variation. In the spirit of duality, some work on display deal directly with the sombre and serious reality that the LGBTQ+ community has suffered, for example, Hunter Reynold’s 1993 Memorial Dress installation. Constructed throughout the 1990s, the garment is emblazoned with the names of twenty-five thousand AIDS victims and pays a tribute to all those beautiful souls who lost their lives to the epidemic.
Conversely, there is a playful spirit that also permeates the exhibition, like Juliana Huxtable’s hybrid alien/goddess photographs that allow her to take on a persona of a hero, in a society where the marginalised are “forced to be their own saints”. Playful and meaningful, the theme of dress-up heroes recurs in a way that is testament to the way in which we all perform in society, queer or not.