Beginning with a brief rumination on a series of works produced by the artist Glenn Ligon in the late 1990s, this article considers a special double-issue of GLQ edited by Richard Meyer and David Román dedicated to unspooling “visual objects and cultural episodes as a queer way of knowing.” Visual culture, art, and performance are all represented in the collected articles, and questions of the archive reappear throughout the double-issue, at once marking a particular discursive vein in queer theory (the “archival turn”) while pointing to the methodological problems of doing queer history.

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