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Amelia Jones has written another essential book. In Between Subjects: A Critical Genealogy of Queer Performance deftly traces post-WWII theories, practices, and poetics of relationality and queer performativity across a globally diverse range of performance-based artworks. The back-stories she brings to the fore, and the genealogies she illuminates for readers are punctuated by movingly visceral and highly local accounts in which the author performs her relations to the art works she summons to account. This book will be a vital companion not only for art historians and performance theorists but for all whose inquiries into art making, life making, and world making congregate under or otherwise gesture toward capacious, critical, and affirmative queerness. Rebecca Schneider, Brown University Deftly moving between the personal and historical, Amelia Jones dives into the concept of queerness such that its conjunction with performance unfurls into the fraught territories of race, coloniality, and the nature of presence. Jones anchors these unruly genealogies with meditations on performances so that the question of betweenness hovers in the air, always moving between what has already been done and what can be done. How have we learned to think about performance and how can queerness help us undo that? Amber Jamilla Musser, George Washington University

Amelia Jones has written another essential book. In Between Subjects: A Critical Genealogy of Queer Performance deftly traces post-WWII theories, practices, and poetics of relationality and queer performativity across a globally diverse range of performance-based artworks. The back-stories she brings to the fore, and the genealogies she illuminates for readers are punctuated by movingly visceral and highly local accounts in which the author performs her relations to the art works she summons to account. This book will be a vital companion not only for art historians and performance theorists but for all whose inquiries into art making, life making, and world making congregate under or otherwise gesture toward capacious, critical, and affirmative queerness. Rebecca Schneider, Brown University Deftly moving between the personal and historical, Amelia Jones dives into the concept of queerness such that its conjunction with performance unfurls into the fraught territories of race, coloniality, and the nature of presence. Jones anchors these unruly genealogies with meditations on performances so that the question of betweenness hovers in the air, always moving between what has already been done and what can be done. How have we learned to think about performance and how can queerness help us undo that? Amber Jamilla Musser, George Washington University

Amelia Jones has written another essential book. In Between Subjects: A Critical Genealogy of Queer Performance deftly traces post-WWII theories, practices, and poetics of relationality and queer performativity across a globally diverse range of performance-based artworks. The back-stories she brings to the fore, and the genealogies she illuminates for readers are punctuated by movingly visceral and highly local accounts in which the author performs her relations to the art works she summons to account. This book will be a vital companion not only for art historians and performance theorists but for all whose inquiries into art making, life making, and world making congregate under or otherwise gesture toward capacious, critical, and affirmative queerness. Rebecca Schneider, Brown University Deftly moving between the personal and historical, Amelia Jones dives into the concept of queerness such that its conjunction with performance unfurls into the fraught territories of race, coloniality, and the nature of presence. Jones anchors these unruly genealogies with meditations on performances so that the question of betweenness hovers in the air, always moving between what has already been done and what can be done. How have we learned to think about performance and how can queerness help us undo that? Amber Jamilla Musser, George Washington University

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A feminist curator, theorist, and historian of art and performance, Amelia Jones is the Robert A. Day Professor and Vice Dean of Academics and Research at the Roski School of Art and Design at University of Southern California.

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