entirely define her practice or ideas. Opie's photography series, Being and Having (1991), involved capturing her friends in close-up frontal portraits, with assertive gazes against yellow backgrounds. These subjects were chosen from Opie's group of friends, all of whom did not abide neatly by traditional gender categories. Details such as adhesive visibly used to attach fake facial hair on female bodied people foregrounded the performative nature of gender. During the 1990s in Beijing, Chinese artist Ma Liuming would be involved with the Beijing East Village art community, founded in 1993. In 1994, he would stage the performance art piece Fen-Ma + Liuming's Lunch (1994). The performance featured the artist assuming the persona of a transgender woman named Fen-Ma Liuming, who would prepare and serve steamed fish for the audience while completely nude, eventually sitting down and attaching a large laundry tube to her penis, sucking and breathing on the other end of the tube. Ma would be arrested for such performances, and in 1995, police forced the artists to move out of Beijing's East Village, with Ma beginning to work outside China. The 21st century Since the 2000s, queer practices continue to develop and be documented internationally, with a sustained emphasis on intersectionality, where one's social and political identities such as gender, race, class, sexuality, ability, among others, might come together to create unique modes of discrimination and privilege. Notable examples include New York and Berlin-based artist, filmmaker, and performer Wu Tsang, who re-imagines racialised, gendered representations, with her practice concerned with hidden histories, marginalised narratives, and the act of performing itself. Her video work, WILDNESS (2012) constructs a portrait of a Latino Los Angeles LGBT bar, the Silver Platter, integrating elements of fiction and documentary to portray Tsang's complex relationship with the bar. It further explores the impact of gentrification and a changing city on the bar's patrons, who are predominantly working class, Hispanic, and immigrant. Canadian performance artist Cassils is known for their 2012 body of work, Becoming An Image, which involves a performance where they direct a series of blows, kicks, and attacks to a 2000-pound clay block in total darkness, while the act is illuminated only by the flashes from a photographer. The final photographs depict Cassils in an almost primal state, sweating, grimacing, and flying through the air as they pummel clay blocks, placing an emphasis on the physicality of their gender non-conforming and transmasculine