Gesture, Ephemera and Queer Feeling: Approaching Kevin Aviance." in _Dancing Desires: Choreographing Sexuality On and Off the Stage_ Ed. Jane Desmond. (Madison: University of Wisconsin Press, 2001. Feeling Brown, Feeling Down: Latina Affect, the Performativity of Race, and the Depressive Position," Signs: Journal of Women in Culture and Society, Vol. 31, No 3 (2006): 675–688.

We may never touch queerness, but we can feel it as the warm illumination of a horizon imbued with potentiality. We have never been queer, yet queerness exists for us as an ideality that can be distilled from the past and used to imagine a future. The future is queerness's domain. Queerness is a structuring and educated mode of desiring that allows us to see and feel beyond the quagmire of the present.”

Project MUSE Mission

José Esteban Muñoz (1967–2013) was Professor and Chair of Performance Studies at New York University. He was the author of Disidentifications: Queers of Color and the Performance of Politics (1999), Cruising Utopia: The Then and There of Queer Futurity ( 10th Anniversary Edition, 2019), and The Sense of Brown (2020). He was co-editor of Pop Out: Queer Warhol (1996) and Everynight Life: Culture and Dance in Latin/o America (1997) and founding co-editor of the Sexual Cultures series at NYU Press. Shaked, Nizan (2008-01-01). "Phantom Sightings: Art after the Chicano Movement". American Quarterly. 60 (4): 1057–1072. doi: 10.1353/aq.0.0043. JSTOR 40068561. S2CID 144620841.

boundary2 (2014-03-10). "The Beauty of José Esteban Muñoz | boundary 2". www.boundary2.org . Retrieved 2016-05-05. {{ cite web}}: CS1 maint: numeric names: authors list ( link) Cvetkovich, Ann (2012). Depression: A Public Feeling. Durham, North Carolina: Duke University Press. ISBN 978-0-8223-5238-9. Roach, Joseph R. (2006). Janelle G. Reinelt (ed.). Critical theory and performance (2nd rev.ed.). Ann Arbor: Univ. of Michigan. p.403. ISBN 978-0-472-06886-9 . Retrieved 8 February 2011.In a starkly dissimilar manner, Leo Bersani’s own important essay in AIDS cultural criticism, “Is the Rectum a Grave?” debunks idealized notions of bathhouses as utopic queer space. Bersani rightly brings to light the fact that those pre-AIDS days of glory were also elitist, exclusionary, and savagely hierarchized libidinal economies. Bersani’s work does not allow itself to entertain utopian hopes and possibilities. His book of gay male cultural theory, Homos, further extends the lines of thought of “Is the Rectum a Grave?” in different directions. Homos is even more concerned with dismantling and problematizing any simplistic, sentimental understanding of the gay community or gay politics. Through an especially powerful reading of Jean Genet, Bersani formulates a theory of anti-relationality. The most interesting contribution of this theory is the way in which it puts pressure on previous queer theories and exposes the ways in which they theorize gay identity in terms that are always relational, such as gender subversion. But this lesson ultimately leads to a critique of coalition politics. Bersani considers coalitions between gay men and people of color or women as “bad faith” on the part of gays. The race, gender, and sexuality troubles in such a theory—all people of color are straight, all gay men are white—are also evident in his famous essay. The limits of his project are most obvious when one tries to imagine actual political interventions into the social realm, especially interventions that challenge the tedious white normativity that characterizes most of North American gay male culture. a b c d e Muñoz, José Esteban Muñoz (2000). "Feeling Brown: Ethnicity and Affect in Ricardo Bracho's "The Sweetest Hangover (And Other STDS)". Theatre Journal. 52 (1): 67–79. doi: 10.1353/tj.2000.0020. S2CID 143419651.

Flaming Latinas: Ela Troyano's Carmelita Tropicana: Your Kunst Is Your Waffen." The Ethnic Eye: Latino Media. Eds. Ana M. L—pez and Chon A. Noriega. Minneapolis: University of Minnesota Press, 1996. Ephemera as Evidence: Introductory Notes to Queer Acts," Queer Acts: Women and Performance, A Journal of Feminist Theory, eds. José E. Muñoz and Amanda Barrett, Vol. 8, No. 2 (1996): 5-18.In 1989 I saw Douglas Crimp give a rousing and moving talk titled “Mourning and Militancy” at the second national Lesbian and Gay Studies conference, held at Yale University. Crimp explained the workings of mourning in queer culture as he catalogued a vast, lost gay male lifeworld that was seemingly devastated by the HIV/AIDS pandemic. I want to call attention here to a specific moment in Crimp’s talk in which an idea of Freud’s is put in conversation with queer spaces and practices from a historically specific gay male lifeworld: