A public scandal that followed the 2005 exhibition of Tanja Ostojić's remake of Courbet's L'origine du monde revealed the contemporary sexual politics of the European Union. This essay analyzes how what was at stake in this “obscenity” was not the sex but rather the sexualization of Europe that the politics of immigration entail. This explicit representation uncovered the logic of inclusion and exclusion that defines today the boundaries of sexual democracy.

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