Alexandro Segade


    I FUCKED SPIDER-MAN five years ago in a Brooklyn apartment. He texted that he was waiting for me in costume. A trim silhouette in blue-and-red Lycra met me at the door. There was a zipper at his lower back, so I could get it in while he kept the full-body zentai suit stretched over long-limbed muscles. Big white eyes bounced above a mouthless mask as he straddled me on the couch, his legs spread like he was swinging from a web.

    Spider-Man strikes that same pose in Nicolas Moufarrege’s Mission Impossible, 1983, a wide embroidered painting with glitter sprinkled throughout that lines the superhero


    Curated by Michael Govan and Dhyandra Lawson

    Before Eleanor Antin became a ballerina, nurse, or king, she made herself into a living statue, acting as both Pygmalion and Galatea. Carving: A Traditional Sculpture, 1972—composed of 148 gelatin silver prints in a grid—documents the artist’s naked body over thirty-eight days of dieting, during which she lost eleven pounds. For “Time’s Arrow,” Antin revisits this iconic work with a new piece, Carving: 45 Years Later, 2017, comprising five hundred pigment prints that display the artist’s no longer “traditionally” sculpted body, but rather the slow pace


    THE MUSTACHE is where they met. The Chicano and gay-liberation movements of the late 1970s weren’t closely aligned politically, but the artists Joey Terrill and Teddy Sandoval, in whose lives these movements intersected, found the nexus already coded onto their bodies. Cholo and clone came together right above their lips.

    Terrill’s mustache was the first thing I cruised at the exhibition “Axis Mundo: Queer Networks in Chicano L.A.,” produced by Pacific Standard Time and cocurated by C. Ondine Chavoya and David Evans Frantz, which traveled this summer to New York’s Hunter College Art Galleries.

  • slant August 24, 2017

    We Belong

    PRIDE MONTH 2017 was momentous, and contentious, for reasons big and small. June’s Facebook pages were littered with rainbow “pride” emoticons, and I used mine for everything. At the same time, a debate about the rainbow flag’s ability to represent its varied constituencies swept through comments, asking if Gilbert Baker’s 1978 creation had become co-opted as a corporate logo, needful of additional black and brown stripes to better address those banded together under the LGBTQIA banner. Often unspoken but nevertheless felt was the shared posttraumatic stress of knowing that a year before, the

  • slant December 17, 2015

    Fanbase and Superstructure

    The spectacle is not a collection of images, but a social relation among people, mediated by images. —Guy Debord

    JOCKSTRAP NIGHT WAS CANCELED, so everyone at the bar was in clothes they hadn’t planned to wear. I spotted three men in Captain America T-shirts and made out with one of them. I tell this story to my workout partner, who sports Iron Man–themed compression garments from Under Armour. Next to him in the locker room, another jock is squeezing into red Lycra with a Superman insignia on the chest. Walking home, I check Instagram, noting that, in my feed of comic-book memes and action figures,