Abstract
Iran’s public sphere has been segregated along gender lines since the Islamic Revolutionin 1979 and is regularly policed by the Ministry of Culture and Islamic Guidance. Thisarticle considers the ways in which the resulting homosocial spaces appear in the worksof contemporary artists working in Tehran. Looking at video and photographic worksby three Iranian artists, I argue that contemporary art is hyper aware of being undersurveillance and addresses itself to multiple viewers. I bring queer viewing strategiesas a method of viewing these artworks in order to point to the continuum betweenhomosocial and homoerotic spaces that permeate contemporary Iranian art.
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