In ?space ?beyond ?a ?taxonomicobsession.” ?Based ?on ?the

In ?the ?article, How ?Contemporary ?Artists ?Are ?Embracing ?the ?Ambiguities ?ofGender, ?author ?Alexis ?Clements ?details ?her ?experience ?at ?the ?queer ?art ?show,Trigger: ?Gender ?as ?a ?Tool ?and ?a ?Weapon. ?The ?show ?is ?currently ?being ?held ?at ?theNew ?Museum ?in ?Bowery, ?Manhattan, ?New ?York. ?When ?reading ?the ?article,Clements ?describes ?the ?art ?show ?as ?”incredibly ?refreshing ?and ?exciting…becauseit’s ?a ?queer ?art ?show ?that ?specifically ?seeks ?a ?space ?beyond ?a ?taxonomicobsession.” ?Based ?on ?the ?theme ?of ?gender ?expression ?and ?its ?related ?social ?issues,this ?exhibition ?could ?not ?be ?anymore ?contemporary ?in ?its ?style. ?The ?multitude ?ofartwork ?that ?is ?included ?in ?the ?exhibit ?helps ?to ?give ?voices ?to ?all ?the ?queer ?artistswhose ?voices ?is ?not ?heard ?enough ?in ?our ?society ?today. ?The ?artwork ?focuses ?ongender ?and ?its ?history ?as ?well ?as ?the ?social ?issues ?surrounding ?it ?which ?is ?whatmakes ?the ?art ?show ?a ?contemporary ?one, ?because ?it ?highlights ?the ?topics ?andissues ?that ?are ?current ?in ?our ?society. ?The ?article ?includes ?a ?quote ?from ?LorraineHansberry’s ?play, ?Les ?Blancs, ?which ?reads ?”I ?believe ?in ?the ?recognition ?of ?devicesas ?devices ?— ?but ?I ?also ?believe ?in ?the ?reality ?of ?those ?devices. ?In ?one ?century ?menchoose ?to ?hide ?their ?conquests ?under ?religion, ?in ?another ?under ?race.”Additionally, ?Clements ?discusses ?gender ?as ?a ?device ?in ?our ?culture ?today ?alongwith ?the ?potential ?danger ?for ?individuals ?who ?exist ?and ?express ?themselvesoutside ?of ?circumscribed ?gender ?roles ?face. ?She ?also ?gives ?the ?reason ?as ?to ?why”Trigger” ?was ?chosen ?as ?the ?name ?of ?the ?exhibition ?because ?the ?namecorresponds ?to ?the ?events ?of ?”trigger ?warnings, ?the ?murders ?of ?trans ?people(particularly ?trans ?women ?of ?color), ?the ?spread ?of ?anti-trans ?legislation, ?and ?therise ?of ?mass ?shootings.” ?I ?believe ?the ?name ?chosen ?for ?the ?show ?is ?very ?a ?cleverand ?appropriate ?one ?that ?grabs ?the ?attention ?of ?all ?audiences ?alike ?because ?gunpolicy ?in ?America ?is ?a ?contemporary ?issue ?within ?our ?country’s ?politics ?soimmediately ?viewers ?are ?engaged.Author ?Alexis ?Clements ?makes ?a ?valid ?point ?when ?she ?acknowledges ?thecultural ?moment ?that ?this ?show ?has ?arrived ?in. ?Within ?this ?cultural ?moment,Clements ?mentions ?that ?there ?is ?a ?natural ?curiosity ?and ?interest ?towards ?trans ?andgender-nonconforming ?people ?among ?popular ?culture. ?Due ?to ?the ?fact ?that ?thenarratives ?of ?these ?people ?are ?generally ?unknown ?because ?ofunderrepresentation, ?it ?is ?a ?normal ?reaction ?for ?people ?outside ?of ?thesecommunities ?to ?be ?curious ?or ?have ?interest ?in ?lifestyle ?of ?queer ?folks. ?Especiallyliving ?in ?a ?society ?where ?social ?media ?is ?very ?prominent ?and ?a ?channel ?forexposure. ?Sometimes ?social ?media ?platforms ?are ?the ?only ?place ?in ?which ?peopleoutside ?these ?communities ?can ?see ?a ?glimpse ?of ?their ?culture ?and ?lifesyle.Clements ?reveals ?how ?”queer ?narratives ?and ?imagery ?are ?amusing ?or ?novel ?forawhile, ?and ?then ?the ?tides ?turn ?back, ?acceptance ?wanes, ?and ?what ?was ?fashionablereturns ?to ?being ?an ?object ?of ?derision.” ?The ?art ?exhibition, Trigger: ?Gender ?as ?aTool ?and ?a ?Weapon, ?is ?a ?group ?show ?which ?includes ?works ?from ?multiple ?queerartists. ?I ?believe ?that ?having ?a ?group ?show ?helps ?to ?highlight ?the ?voices ?of ?thevarying ?queer ?artists ?that ?are ?included ?in ?the ?exhibition. ?It ?also ?prevents ?theartwork ?from ?being ?objectified, ?easily ?interpreted, ?or ?even ?categorized ?by ?viewers.Historically ?speaking, ?humans ?tend ?to ?categorize ?things ?such ?as ?people, ?objects,and ?anything ?else ?that ?inhabits ?this ?planet. ?In ?my ?opinion, ?categorization ?bringscomfort ?and ?ease ?to ?the ?human ?mind ?because ?it ?helps ?us ?understand ?the ?way ?ourworld ?operates. ?However, ?categorization ?is ?dangerously ?limiting ?regardless ?ofwhat ?is ?being ?categorized. ?Clements ?recognizes ?the ?”new ?obsession ?withcategorizing ?every ?possible ?permutation ?of ?gender ?and ?sexuality ?that ?has ?arisenamong ?both ?straight ?and ?LGBTQ ?people. ?The ?English ?language ?itself, ?along ?withcapitalist ?frameworks ?that ?demand ?the ?market ?segmentation ?andcommodification ?of ?just ?about ?everything, ?is ?in ?many ?ways ?to ?blame.” ?I ?believe ?thisto ?be ?very ?accurate ?because ?as ?a ?millennial, ?I ?have ?seen ?this ?obsession ?rise ?amongmy ?generation ?in ?particular. ?Social ?media ?is ?also ?to ?blame ?for ?this ?because ?while ?itexposes ?us ?to ?so ?much, ?people ?naturally ?want ?to ?give ?labels ?to ?others. ?Afterreading ?how ?this ?art ?show ?goes ?somewhere ?beyond ?a ?taxonomic ?environment, ?it ?isvery ?intriguing ?to ?know ?that ?such ?a ?space ?has ?been ?accomplished ?among ?queerartists ?according ?to ?Clements. ?What ?makes ?the ?exhibition, Trigger: ?Gender ?as ?aTool ?and ?a ?Weapon, ?even ?more ?of ?a ?contemporary ?art ?show ?is ?how ?its ?artworks ?arenot ?directly ?nostalgic ?to ?queer ?history, ?but ?are ?rather ?focused ?on ?remaking ?andretelling ?this ?history ?through ?the ?present ?day ?and ?its ?current ?events.One ?of ?the ?works ?in ?the ?exhibit ?relating ?to ?queer ?history ?is ?the ?film, ?Lost ?inthe ?Music, ?by ?artists ?Reina ?Gossett ?and ?Sasha ?Wortzel. ?The ?film ?which ?displays”the ?vitality ?and ?glamour ?of ?trans ?activist ?Marsha ?P. ?Johnson…is ?seen ?anew ?both ?infictional ?and ?archival ?footage ?that ?celebrates ?her ?intense ?and ?endearing ?life ?force.”Reina ?Gossett ?is ?a ?trans ?woman ?of ?color ?herself ?and ?her ?work ?is ?not ?only ?queer ?art,but ?diaspora ?art ?as ?well. ?Both ?the ?artist ?and ?the ?subject ?of ?her ?artwork, ?are ?transwomen ?of ?color ?who ?are ?apart ?of ?the ?African ?diaspora ?so ?this ?film ?can ?definitely ?beconsidered ?diaspora ?art. ?The ?visual ?film ?is ?history-based ?and ?highlights ?Marsha ?P.Johnson ?who ?was ?an ?activist ?who ?fought ?for ?rights ?just ?like ?many ?other ?queeractivists ?of ?color ?did. ?Clements ?states ?that ?among ?the ?different ?galleries ?of ?themassive ?art ?show, “humor ?is ?not ?the ?only ?device ?at ?play, ?but ?slipping ?away ?fromexpectations ?and ?refusing ?to ?adopt ?recognizable ?shapes ?or ?characters ?returnsover ?and ?over ?throughout ?the ?exhibit…Using ?heavy ?black ?curtains ?to ?separate ?thespaces, ?the ?curators ?deliberately ?refuse ?an ?orderly ?experience.” ?Although ?theartwork ?is ?contemporary, ?I ?believe ?that ?some ?parts ?of ?the ?exhibition ?can ?be ?seen ?aspostmodern ?as ?well. ?Installation ?art, ?conceptual ?art ?and ?multimedia ?which ?are ?allmovements ?in ?postmodern ?art, ?are ?some ?of ?different ?styles ?of ?art ?which ?can ?beseen ?in ?the ?exhibit. ?Clements ?declares ?that ?”these ?curators ?have ?created ?acoherence ?in ?the ?refusal ?to ?cohere ?— ?an ?incredibly ?difficult ?thing ?to ?pull ?off.Importantly, ?that ?lack ?of ?coherence ?helps ?to ?destabilize ?the ?category ?of ?queer ?art,even ?while ?powerfully ?asserting ?the ?enduring ?importance ?of ?the ?voices ?andperspectives ?of ?queer ?artists.” ?After ?finishing ?the ?article ?with ?the ?quote ?above, ?Iam ?set ?on ?attending ?the ?art ?show ?because ?it ?is ?rare ?and ?has ?never ?been ?done ?thisway ?before.