In José Esteban Muñoz’s now probably over-quoted introduction to Cruising Utopia: The Then and There of Queer Futurity, Muñoz describes, “Both the ornamental and the quotidian can contain a map of the utopia that is queerness” (1). Similar to Muñoz’s assertion, artist Anna Campbell works almost exclusively with “the ornamental and the quotidian” as a site for … Continue reading →