Abstract
Geoffrey Hendricks’s 1971 Ring Piece was among the earliest works of performance art in New York City to respond to the movements sparked by the Stonewall uprising. The boldest of a series of performances in which Hendricks allegorized personal transformation and the disclosure of his sexuality, Ring Piece weighed the political urgency of a visible queer identity against its costs. Its public spectacle of privacy provides an opportunity to question the politics of visibility that defined the early lesbian and gay rights movement. It also challenges the protocols for recognizing differences in art history and, more directly, the presumption that queer lives must be visible to be viable.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
