work, brings the private to the public and interrogates idealized and unrealistic depictions of nude women in the media. The two hold hands but are turned from each other to face the shelves. They are also attached via crochet ropes that link their crotches to a giant crochet brain overhead, suggesting the intertwining of sexual and intellectual desire in their love for books and each other. Kill Joy's Kastle Kill Joy’s Kastle: A Lesbian Feminist Haunted House was a large scale, multiroom, multimedia and immersive piece created by All#yson Mitchell and Dierdre Logue in collaboration with over a hundred artists and performers. Kill Joy’s Kastle was first installed in the fall of 2013 in Toronto. It was also displayed in London, Los Angeles and Philadelphia in the following years. In creating Kill Joy’s Kastle, Mitchell and Logue drew on the form of Evangelical Christian Hell Houses, which act out scenes of perceived sins such as homosexuality, abortion, drug use and suicide in an attempt to steer viewers (often teenagers) toward the path of Evangelical Christianity. Employing a performance similar to those seen in traditional Hell Houses, Kill Joy’s Kastle leads audience members through a dramatized retelling of lesbian feminist “herstory”, designed to “pervert, not convert” its viewers. The installation was simultaneously utopic and dystopic, advertised as a “sex positive, trans inclusive, queer-lesbian-feminist-fear-fighting celebration”. At the beginning of the tour, audiences are introduced to the figure of the “feminist killjoy”, who explains that while feminists are often depicted as “happiness murderesses”, their “bad mood” is more than understandable after “millennium upon millennium of persecution, ridicule, erasure and abject misunderstanding. This stereotype of the “feminist killjoy” functions as a starting point for the installation’s interrogation of heteropatriarchal depictions of lesbian feminism. Throughout the rest of the tour, audience members are led through the world of Kill Joy’s Kastle, in which they encounter the queered resurrection of “Dead” theories, ideas, movements and stereotypes such as “Riot Ghouls”, “Paranormal Consciousness Raisers”, “Zombie Folk Singers”, “Ball Busting Butches”, “Four Faced Internet Trolls” and “Polyamorous Vampiric Grannies”. An emotionally immersive and embodied space created with Mitchell’s signature maximalist style and rooted in a “Deep Lez” philosophy (see “Themes” section of this article), the installation uses humor and discomfort to engage audience members, disrupt mainstream discourse surrounding lesbianism and feminism and challenge narratives of liberal process. Kill Joy’s Kastle’s first iteration in Toronto yielded a large and