Sex Lives and Videotape is the latest in a series of interactive community events exploring the diverse materiality of artifacts within The ArQuives.

Sex Lives and Videotape is the latest in a series of interactive community events exploring the diverse materiality of artifacts within The ArQuives.

Sex Lives and Videotape is the latest in a series of interactive community events exploring the diverse materiality of artifacts within The ArQuives.

Sex Lives and Videotape is the latest in a series of interactive community events exploring the diverse materiality of artifacts within The ArQuives.

Sex Lives and Videotape is the latest in a series of interactive community events exploring the diverse materiality of artifacts within The ArQuives.

Sex Lives and Videotape is the latest in a series of interactive community events exploring the diverse materiality of artifacts within The ArQuives.

Taken in tandem with the recent surge in interest, among younger and increasingly diverse generations of queer academic, activist, and artistic communities, in mining queer archives, Gay Premises: Radical Voices in the Archives, 1973-1983, timely in its confluence with The ArQuives’s 40th anniversary, operates at the threshold between Canada’s gay liberation past as a complex and contested foundation for the queer present and its potential futures.

Taken in tandem with the recent surge in interest, among younger and increasingly diverse generations of queer academic, activist, and artistic communities, in mining queer archives, Gay Premises: Radical Voices in the Archives, 1973-1983, timely in its confluence with The ArQuives’s 40th anniversary, operates at the threshold between Canada’s gay liberation past as a complex and contested foundation for the queer present and its potential futures.

Taken in tandem with the recent surge in interest, among younger and increasingly diverse generations of queer academic, activist, and artistic communities, in mining queer archives, Gay Premises: Radical Voices in the Archives, 1973-1983, timely in its confluence with The ArQuives’s 40th anniversary, operates at the threshold between Canada’s gay liberation past as a complex and contested foundation for the queer present and its potential futures.

Taken in tandem with the recent surge in interest, among younger and increasingly diverse generations of queer academic, activist, and artistic communities, in mining queer archives, Gay Premises: Radical Voices in the Archives, 1973-1983, timely in its confluence with The ArQuives’s 40th anniversary, operates at the threshold between Canada’s gay liberation past as a complex and contested foundation for the queer present and its potential futures.

Taken in tandem with the recent surge in interest, among younger and increasingly diverse generations of queer academic, activist, and artistic communities, in mining queer archives, Gay Premises: Radical Voices in the Archives, 1973-1983, timely in its confluence with The ArQuives’s 40th anniversary, operates at the threshold between Canada’s gay liberation past as a complex and contested foundation for the queer present and its potential futures.

Taken in tandem with the recent surge in interest, among younger and increasingly diverse generations of queer academic, activist, and artistic communities, in mining queer archives, Gay Premises: Radical Voices in the Archives, 1973-1983, timely in its confluence with The ArQuives’s 40th anniversary, operates at the threshold between Canada’s gay liberation past as a complex and contested foundation for the queer present and its potential futures.

Taken in tandem with the recent surge in interest, among younger and increasingly diverse generations of queer academic, activist, and artistic communities, in mining queer archives, Gay Premises: Radical Voices in the Archives, 1973-1983, timely in its confluence with The ArQuives’s 40th anniversary, operates at the threshold between Canada’s gay liberation past as a complex and contested foundation for the queer present and its potential futures.

Taken in tandem with the recent surge in interest, among younger and increasingly diverse generations of queer academic, activist, and artistic communities, in mining queer archives, Gay Premises: Radical Voices in the Archives, 1973-1983, timely in its confluence with The ArQuives’s 40th anniversary, operates at the threshold between Canada’s gay liberation past as a complex and contested foundation for the queer present and its potential futures.

Taken in tandem with the recent surge in interest, among younger and increasingly diverse generations of queer academic, activist, and artistic communities, in mining queer archives, Gay Premises: Radical Voices in the Archives, 1973-1983, timely in its confluence with The ArQuives’s 40th anniversary, operates at the threshold between Canada’s gay liberation past as a complex and contested foundation for the queer present and its potential futures.

Taken in tandem with the recent surge in interest, among younger and increasingly diverse generations of queer academic, activist, and artistic communities, in mining queer archives, Gay Premises: Radical Voices in the Archives, 1973-1983, timely in its confluence with The ArQuives’s 40th anniversary, operates at the threshold between Canada’s gay liberation past as a complex and contested foundation for the queer present and its potential futures.

Taken in tandem with the recent surge in interest, among younger and increasingly diverse generations of queer academic, activist, and artistic communities, in mining queer archives, Gay Premises: Radical Voices in the Archives, 1973-1983, timely in its confluence with The ArQuives’s 40th anniversary, operates at the threshold between Canada’s gay liberation past as a complex and contested foundation for the queer present and its potential futures.

The ArQuives’s 2014 WorldPride exhibition, Imaging Home: Resistance, Migration, and Contradiction, brings together documentary video and photographic work that raises significant questions about the meaning of “home” in a world that keeps refining homophobic and racist oppression.

Taken in tandem with the recent surge in interest, among younger and increasingly diverse generations of queer academic, activist, and artistic communities, in mining queer archives, Gay Premises: Radical Voices in the Archives, 1973-1983, timely in its confluence with The ArQuives’s 40th anniversary, operates at the threshold between Canada’s gay liberation past as a complex and contested foundation for the queer present and its potential futures.

The ArQuives’s 2014 WorldPride exhibition, Imaging Home: Resistance, Migration, and Contradiction, brings together documentary video and photographic work that raises significant questions about the meaning of “home” in a world that keeps refining homophobic and racist oppression.

Taken in tandem with the recent surge in interest, among younger and increasingly diverse generations of queer academic, activist, and artistic communities, in mining queer archives, Gay Premises: Radical Voices in the Archives, 1973-1983, timely in its confluence with The ArQuives’s 40th anniversary, operates at the threshold between Canada’s gay liberation past as a complex and contested foundation for the queer present and its potential futures.

The ArQuives’s 2014 WorldPride exhibition, Imaging Home: Resistance, Migration, and Contradiction, brings together documentary video and photographic work that raises significant questions about the meaning of “home” in a world that keeps refining homophobic and racist oppression.

Taken in tandem with the recent surge in interest, among younger and increasingly diverse generations of queer academic, activist, and artistic communities, in mining queer archives, Gay Premises: Radical Voices in the Archives, 1973-1983, timely in its confluence with The ArQuives’s 40th anniversary, operates at the threshold between Canada’s gay liberation past as a complex and contested foundation for the queer present and its potential futures.

The ArQuives’s 2014 WorldPride exhibition, Imaging Home: Resistance, Migration, and Contradiction, brings together documentary video and photographic work that raises significant questions about the meaning of “home” in a world that keeps refining homophobic and racist oppression.

Taken in tandem with the recent surge in interest, among younger and increasingly diverse generations of queer academic, activist, and artistic communities, in mining queer archives, Gay Premises: Radical Voices in the Archives, 1973-1983, timely in its confluence with The ArQuives’s 40th anniversary, operates at the threshold between Canada’s gay liberation past as a complex and contested foundation for the queer present and its potential futures.

The ArQuives’s 2014 WorldPride exhibition, Imaging Home: Resistance, Migration, and Contradiction, brings together documentary video and photographic work that raises significant questions about the meaning of “home” in a world that keeps refining homophobic and racist oppression.

Taken in tandem with the recent surge in interest, among younger and increasingly diverse generations of queer academic, activist, and artistic communities, in mining queer archives, Gay Premises: Radical Voices in the Archives, 1973-1983, timely in its confluence with The ArQuives’s 40th anniversary, operates at the threshold between Canada’s gay liberation past as a complex and contested foundation for the queer present and its potential futures.

The ArQuives’s 2014 WorldPride exhibition, Imaging Home: Resistance, Migration, and Contradiction, brings together documentary video and photographic work that raises significant questions about the meaning of “home” in a world that keeps refining homophobic and racist oppression.

Taken in tandem with the recent surge in interest, among younger and increasingly diverse generations of queer academic, activist, and artistic communities, in mining queer archives, Gay Premises: Radical Voices in the Archives, 1973-1983, timely in its confluence with The ArQuives’s 40th anniversary, operates at the threshold between Canada’s gay liberation past as a complex and contested foundation for the queer present and its potential futures.

The ArQuives’s 2014 WorldPride exhibition, Imaging Home: Resistance, Migration, and Contradiction, brings together documentary video and photographic work that raises significant questions about the meaning of “home” in a world that keeps refining homophobic and racist oppression.

Taken in tandem with the recent surge in interest, among younger and increasingly diverse generations of queer academic, activist, and artistic communities, in mining queer archives, Gay Premises: Radical Voices in the Archives, 1973-1983, timely in its confluence with The ArQuives’s 40th anniversary, operates at the threshold between Canada’s gay liberation past as a complex and contested foundation for the queer present and its potential futures.

The ArQuives’s 2014 WorldPride exhibition, Imaging Home: Resistance, Migration, and Contradiction, brings together documentary video and photographic work that raises significant questions about the meaning of “home” in a world that keeps refining homophobic and racist oppression.

Taken in tandem with the recent surge in interest, among younger and increasingly diverse generations of queer academic, activist, and artistic communities, in mining queer archives, Gay Premises: Radical Voices in the Archives, 1973-1983, timely in its confluence with The ArQuives’s 40th anniversary, operates at the threshold between Canada’s gay liberation past as a complex and contested foundation for the queer present and its potential futures.

The ArQuives’s 2014 WorldPride exhibition, Imaging Home: Resistance, Migration, and Contradiction, brings together documentary video and photographic work that raises significant questions about the meaning of “home” in a world that keeps refining homophobic and racist oppression.

Taken in tandem with the recent surge in interest, among younger and increasingly diverse generations of queer academic, activist, and artistic communities, in mining queer archives, Gay Premises: Radical Voices in the Archives, 1973-1983, timely in its confluence with The ArQuives’s 40th anniversary, operates at the threshold between Canada’s gay liberation past as a complex and contested foundation for the queer present and its potential futures.

The ArQuives’s 2014 WorldPride exhibition, Imaging Home: Resistance, Migration, and Contradiction, brings together documentary video and photographic work that raises significant questions about the meaning of “home” in a world that keeps refining homophobic and racist oppression.

Taken in tandem with the recent surge in interest, among younger and increasingly diverse generations of queer academic, activist, and artistic communities, in mining queer archives, Gay Premises: Radical Voices in the Archives, 1973-1983, timely in its confluence with The ArQuives’s 40th anniversary, operates at the threshold between Canada’s gay liberation past as a complex and contested foundation for the queer present and its potential futures.

The ArQuives’s 2014 WorldPride exhibition, Imaging Home: Resistance, Migration, and Contradiction, brings together documentary video and photographic work that raises significant questions about the meaning of “home” in a world that keeps refining homophobic and racist oppression.

Taken in tandem with the recent surge in interest, among younger and increasingly diverse generations of queer academic, activist, and artistic communities, in mining queer archives, Gay Premises: Radical Voices in the Archives, 1973-1983, timely in its confluence with The ArQuives’s 40th anniversary, operates at the threshold between Canada’s gay liberation past as a complex and contested foundation for the queer present and its potential futures.

The ArQuives’s 2014 WorldPride exhibition, Imaging Home: Resistance, Migration, and Contradiction, brings together documentary video and photographic work that raises significant questions about the meaning of “home” in a world that keeps refining homophobic and racist oppression.