The introduction opens with a photograph of what appears (to a contemporary viewer) to be a gender queer figure, taken in a photography studio in south Lebanon in the early 1950s. The image is reproduced and exhibited by the contemporary queer Lebanese artist Akram Zaatari. Just as Zaatari’s act of queer curation reanimates and resignifies the meaning of this photograph by putting it into circulation some fifty years after it was created, so too does this book as a whole function as a queer curatorial project. By placing seemingly unrelated cultural texts in relation to one another, Unruly Visions is an act of queer curation that seeks to reveal not coevalness or sameness but rather the co-implication and radical relationality of disparate racial formations, geographies, temporalities, and colonial and postcolonial histories of displacement and dwelling.