Amelia Jones is Professor and Grierson Chair in Visual Culture at McGill University in Montréal. Her recent publications include major essays on Marina Abramović (in TDR), on feminist art and curating, and on performance art histories, as well as the edited volume Feminism and Visual Culture Reader (2003, 2010). Her most recent book is Self/Image: Technology, Representation, and the Contemporary Subject (2006), will be followed in 2012 and her major volume, Perform Repeat Record: Live Art in History, co-edited with Adrian Heathfield, is due out in 2011.

• Chapter 1. Introduction, The Leaking Frame of the Argument on How to See Differently Chapter 2. Art as a Binary Proposition; Identity as a Binary Proposition Chapter 3. Fetishizing the Gaze and the Anamorphic Perversion: "The Other is You" Chapter 4. Multiculturalism, Intersectionality, and "Post-Identity" Chapter 5. Queer Feminist Durationality: Time and Materiality as a Means of Resisting Spatial Objectification Chapter 6. Seeing and Reconceiving Difference, Concluding Thoughts, without Final Conclusions

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Amelia Jones is Professor and Grierson Chair in Visual Culture at McGill University in Montréal. Her recent publications include major essays on Marina Abramović (in TDR), on feminist art and curating, and on performance art histories, as well as the edited volume Feminism and Visual Culture Reader (2003, 2010). Her most recent book is Self/Image: Technology, Representation, and the Contemporary Subject (2006), will be followed in 2012 and her major volume, Perform Repeat Record: Live Art in History, co-edited with Adrian Heathfield, is due out in 2011.

• Chapter 1. Introduction, The Leaking Frame of the Argument on How to See Differently Chapter 2. Art as a Binary Proposition; Identity as a Binary Proposition Chapter 3. Fetishizing the Gaze and the Anamorphic Perversion: "The Other is You" Chapter 4. Multiculturalism, Intersectionality, and "Post-Identity" Chapter 5. Queer Feminist Durationality: Time and Materiality as a Means of Resisting Spatial Objectification Chapter 6. Seeing and Reconceiving Difference, Concluding Thoughts, without Final Conclusions

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Amelia Jones is Professor and Grierson Chair in Visual Culture at McGill University in Montréal. Her recent publications include major essays on Marina Abramović (in TDR), on feminist art and curating, and on performance art histories, as well as the edited volume Feminism and Visual Culture Reader (2003, 2010). Her most recent book is Self/Image: Technology, Representation, and the Contemporary Subject (2006), will be followed in 2012 and her major volume, Perform Repeat Record: Live Art in History, co-edited with Adrian Heathfield, is due out in 2011.

• Chapter 1. Introduction, The Leaking Frame of the Argument on How to See Differently Chapter 2. Art as a Binary Proposition; Identity as a Binary Proposition Chapter 3. Fetishizing the Gaze and the Anamorphic Perversion: "The Other is You" Chapter 4. Multiculturalism, Intersectionality, and "Post-Identity" Chapter 5. Queer Feminist Durationality: Time and Materiality as a Means of Resisting Spatial Objectification Chapter 6. Seeing and Reconceiving Difference, Concluding Thoughts, without Final Conclusions

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