ABSTRACT
This chapter offers some thoughts on and examples of what Jennifer Tyburczy calls queer curatorship. Jo Darbyshire’s queer tactics also included importing what might be regarded as insignificant and/or improper objects into the exhibition in order to invoke meanings and connections through the use of visual metaphor. The Gay Museum was the outcome of a PhD project in which artist Jo Darbyshire set out to explore the history of lesbian, gay, bisexual, transgender, presence and identity in Western Australia, and, at the same time, to critically reflect on practices of meaning- making. C. Robin’s claims that there has been an exponential increase of late in the number of museums commissioning artists to respond to their collections and that this is indicative of the kind of paradigm shift that Richard Sandell called for a decade and a half ago.
