ABSTRACT
During the eighties, artists broke black queer sexualities down into a variety of considerations precisely because of the social exigencies that constituted the decade of the eighties. Indeed, as an effort to address various historical and social formations reproduction, domestic and state violence, sexuality, migration, and the gendered nature of labor that might also argue that the category 'intersectionality' was the clearest outcome of that multiplication. The interdisciplinarity of the aesthetic work and the decade is also characterized by an interrogation of the terms of historical narration and representation. Gupta's participation in a British film about an African American poet calls to mind Britain's racial heterogeneity and the potential for collaboration and coalition. Juxtaposing the literary and visual components of black queer production helps to illuminate the ethnic and regional heterogeneity of black queer art and life. The emergence of neoliberalism in the U.S. and Britain represented an epochal desire to forget the histories and their reproductions in contemporary moments.
