Paul Yore’s work is unmistakably queer. Generally speaking, his textiles, soft sculptures, and installations feature the colors of the rainbow flag; his technique of carefully sewing small scraps of fabric together recalls the aids Memorial Quilt. More conspicuously, penises and dildos abound in his work, alongside cartoonish depictions of gay sex. Yet even while it zealously, even overzealously, embodies the queer aesthetics of camp, Yore’s artwork resists articulating a queer identity as such. Instead, in its hyperactive cocktail of negativity, sarcasm, and pleasure, it figures “queer” as a