ABSTRACT
Zanele Muholi has become one of South Africa’s most feted contemporary photographers. For many, their work is emblematic of the mobilisation of an aesthetic form for political resistance. While the epistemological and affective power of their work is clearly visible in the photographs, much of what constitutes the activism these images facilitate is not. This chapter explores the ways in which Muholi makes strategic use of the art market to draw attention to the intersecting oppressions of homophobia, misogyny and racism, and to sustain themselves and others who form part of their community.
