As labels tend to oscillate between overestimation and meaninglessness, the notion of a Queer Art History requires double caution: As a discipline it may either risk domesticating a radical movement through institutionalization, or be derided as ‘unscholarly’ activism. While the latter objection may even confirm the effectiveness of queer initiatives, the former requires a constant questioning of the objectives being pursued. Charting the path forward for Queer Art History means facing these issues head on.