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.

In an era of digital catalogues raisonnés, artist Michael Müller has embraced printed opulence with “Ernstes Spiel – Catalogue Raisonné.” Using colors, languages and the interplay of images and texts, the supposed parergon is transformed into a Gesamtkunstwerk in its own right.