Artist and curator Việt Lê delivers a powerful performance lecture on trauma, religion and Asian identity in the panel on gender and sexuality in Asian American art at IMU UR2 in 2022. On October 28–29, 2022, Stanford University hosted IMU UR2: Art, Aesthetics, and Asian America, bringing together artists, curators, and scholars to rethink and reimagine the histories and futures of artists of Asian descent.

In the hands of filmmakers, executions were more than acts of retribution and incapacitation. They were opportunities for personal, and sometimes cultural, redemption.

Kara Walker's public installations in New York and New Orleans ask, what can contemporary art do to reckon with its links to racial capitalism?

Mixed forms are crucial not only to the understanding of khuntha, mukhannath, and khanith communities, but also to the very scaffolding of Almarri’s paper. 

Saqer Almarri explores the terms khuntha, mukhannath, and khanith, and their associated identities, along with their linguistic characteristics and literary uses.*

Traoré’s 2017 film reminds us that the border itself is a problematic institution. Even in its most stripped-down form, a border exists for the exercise of power against those populations whose movements it controls. Who crosses—and at what cost—depends on lines of race, class, and gender. 

It is not a coincidence that distant reading does not deal well with gender, sexuality, or race. But if we re-commit ourselves to the project of exposing and interrogating power, we arrive potentially at a form of distant reading that is much more inclusive.

How the autism spectrum in the popular imagination overlaps with and feeds a particular feature of European-American whiteness: the bias toward independence and self-sufficiency. 

What does the online speculative realism movement have to offer a conversation about gender and blogging? Easy: several years of experience dealing with intimidation and despair. Whenever you put new stuff out there, you get flak, no matter what your gender.