PRINT December 1995

Dan Cameron


Deciding that inclusiveness was the best way to handle the often-elusive subject matter of “IN A DIFFERENT LIGHT,” cocurators Nayland Blake and Lawrence Rinder turned a skewered look at the gay and lesbian impact on visual culture into a semiotic free-for-all, filling the University Art Museum in Berkeley, California, with more than 200 objects. Nothing was sacred, which meant that little was excluded: paintings, sculpture, and photography hung cheek by jowl with record covers, small-press publications, and gay propaganda, as well as bits of paraphernalia whose relationship to the subject was lost on more than a few viewers. Still, by wallowing in the muddlement caused by the very notion of gay culture, the organizers made what could have been a pedantic exercise into something like an intercultural romp. Part of their argument was that we cannot identify and celebrate a gay

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