TABLE OF CONTENTS

THE BODY YOU WANT: AN INTEVIEW WITH JUDITH BUTLER

BOYS AS AWKWARD AND GLAMOROUS GIRLS, girls as macho and very swishy boys, black boys in whiteface in girls’ clothes: “identity bending,” a key Modernist trope since at least Marcel Duchamp (and a perennial staple of the cabaret and performance scenes), seems to be enjoying a renaissance of sorts in the gallery world. From Matthew Barney’s bride stripped bare to reveal a gym-pumped, decidedly “male” physique, to Chuck Nanney’s less-than-vigilant self-transformations (he looks like a Rocky Mountain logger in a shift from Sears), to Lyle Ashton Harris’ seductive gender/race drag, to the decidedly fey personas of goatee- and sideburn-sporting demimonde-denizen Ambrose Pierce (also known as Trash), a range of exhilarating instabilities are being mapped in the current proliferation of cross-dressing, transvestism, and cross-gender identifications. Informed by diverse strands of critical theory,

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