This review of Oliverio Rodriguez's ongoing series The Last Seduction/La Seducción Fatal examines how his images press against European and South American “masters” of painting through explicitly queer and kinky optics. As Rodriguez uses collage techniques to activate the obvious, he creates a suite that theorizes the queerer grounds on which alternate modes of imaging might reflect the broader, more nuanced and quotidian practices of inhabiting bodies marked as other.

You do not currently have access to this content.