A patriotic mermaid, leather daddy Santa, and a drag queen easter egg all walk into an art gallery. The result? An overwhelming immersion into the world of Kentucky’s LGBTQ history, seen through the eyes of queer artist Feather Chiaverini.

The coastal aesthetic is shifting–like the barrier islands it is modeled after–from that of a reflection of the outdoors to merely a memory. The body, anonymous and in a state of stillness (whether by leisure or illness–reasons are unclear) is a reminder of our impermanence on this planet, and, oddly, it feels comforting.

Overall, I feel like I have been totally reinvented in my vision of my work and its future potential and have been given a new perspective on what is possible as an artist.

In Louisville’s Germantown, Bash At The Bar unites wrestlers, musicians, and costumed chaos in a loud, theatrical celebration. From $10 chops to OVW legends, the night blurs performance art and sport, proving that the most memorable experiences happen face-to-face, not through a screen.

What is Quesenberry’s art about? Why ask the question. The light boxes, the pulsing circles, and the vivid Polaroid forms offer moments of radiance and resonance. Quesenberry’s luminous constructions are meant to be felt, to be experienced. They may cause a visual shift, or offer a glimpse of memory.

Come Rain or Shine, by Ceirra Evans at Institute 193, runs in circles—like a dog chasing its tail—around the stereotypes of Appalachian life and is set against the tumultuous backdrop of social, political, and climate catastrophe. Yet, it holds fast to the urgency of friendship, frugality, and solidarity in the face of global meltdown.

A conversation hosted between Kentucky curators Sirene Martin and Anna Blake surrounding their separate experiences at the opening of Prospect New Orleans’ 6th Triennial, The Future is Present, The Harbinger is Home, curated by Miranda Lash and Ebony G. Patterson.