their work after years of suppression. A significant example is the NAMES Project AIDS Memorial Quilt conceived by activist Cleve Jones. A continually-growing piece of public art, it allows people to commemorate loved ones lost to the disease through quilt squares. It was first displayed in 1987 during the National March on Washington for Lesbian and Gay Rights, on the National Mall in Washington, D.C., covering an area larger than a football field. Presently, people continue to add panels honouring names of lost friends, and the project has grown into various incarnations around the world, also winning a Nobel Peace Prize nomination, and raising $3 million for AIDS service organisations. Criticism In attempting to conceive of queer art as a whole, one risks domesticating queer practices, smoothening over the radical nature and specificity of individual practices. Richard Meyer and Catherine Lord further argue that with the new-found acceptance of the term "queer", it runs the risk of being recuperated as "little more than a lifestyle brand or niche market", with what was once rooted in radical politics now mainstream, thus removing its transformative potential. Lastly, limiting queer art too closely within the contexts of US and UK events excludes the varied practices of LGBT+ individuals beyond those geographies, as well as various conceptions of queerness across cultures. References Further reading External links Queer Lives and Art by Tate (archived here) Queer Art by Sarah Ingram at The Art Story (archived here) Queer Art: 1960s to the Present by Tara Burk at Art History Teaching Resources (archived here) Contemporary art movements LGBT art Modern art Queer culture