contentious reaction from viewers, many of whom felt that the installation was white-centric and transphobic, highlighting tensions within lesbian and queer communities. After the show, a young artist and blogger named Kalmplex critiqued the whiteness of the show, arguing that the installation put white lesbian history at the forefront and excluded the experiences of Black and racialized lesbians. Another community member voiced concerns about the transphobia of the “Ball Busta’s” portion of the installation. Mitchell apologized directly to the individuals who had negative experiences with the installation in a public letter, in which she took personal responsibility and situated the project in the racist and transphobic histories of lesbian feminism. Changes to the show were made to the LA installation in response to the Toronto controversy. Themes Deep Lez Mitchell’s work is rooted in the collective feelings surrounding feminism and lesbian feminism. In 2009, Mitchell published a manifesto for this methodology, titled “Deep Lez I Statement”. Through its merging of elements of lesbian feminism and contemporary intersectional queer politics, Deep Lez functions as a queer critique of lesbian feminism’s gender essentialism, transphobia, and whiteness. In doing so, it attempts to create a “both/and” sensibility that embraces multiple histories and perspectives. Deep Lez was conceptualized by Mitchell as an “experiment, a process, an aesthetic, and a blend of theory and practice which aims to acknowledge and address histories of conflict and erasure in feminist and queer movements”. It serves as a guiding philosophy and methodology for Mitchell as an artist, and a framework through which to understand the broader implications of her work. Described by Mitchell as a “macraméd conceptual tangle”, Deep Lez questions how art and politics integrate, and acknowledges contemporary queer and feminist movements’ need to “develop inclusive liberatory feminisms while examining strategic benefits of maintaining some components of a radical lesbian theory and practice”. Deep Lez is embodied through an ongoing series of artworks by Mitchell that reappropriate public space for radical, political lesbian identity. Craft as Queer and Feminist Resistance Mitchell is one of a few contemporary artists using craft as a largely unregulated site of protest and feminist resistance. Crafting, which has long played a vital role in the social and communal sphere, has been taken up by various artists as a tool of queer and feminist resistance with which to “unpick and unravel the very binaries between high/low, art/craft, male/female”. Through her frequent use of