erotic world, rich with texture, humour and joyful displays of femininity, queerness and desire. The size, strength and fierceness of the exclusively female collective in Ladies Sasquatch suggest a social order that exists beyond the patriarchal status quo, and a rejection of male-dominated urban civilization. In many ways, the work appears to represent a queer utopia, in which the inhabitants live free of the heteropatriarchal male gaze and instead enjoy a space both created and populated by “unbridled feminine energy”. There is also a mythical element to this gathering; in her review of the installation, curator Carla Garnet notes that the figures seem to be enacting a “modern yet primordial” re-interpretation of Aristophanes’ Lysistrata, pointing to the pieces’ shared interrogating of the social organization of mythological feminine power. As well, Garnet suggests that the fabrication process of the piece provides a model for the building of queer feminist communities, a theme common among Mitchell’s other works. Through an exploration of themes such as lesbian feminism, sexuality, queer kinship and community building, Ladies Sasquatch provides a site within which patriarchal understandings are disrupted, and public space is reclaimed for radical lesbian experience. A Girl's Journey Into the Well of Forbidden Knowledge A Girl’s Journey into the Well of Forbidden Knowledge was a 2010 installation for the Art Gallery of Ontario in Toronto, in which Mitchell recreated a version of the Lesbian Herstory Archives reading room in Brooklyn. The work, inspired by Mitchell’s time spent at the Archives while living in New York, brought lesbian feminist history and culture to a larger public by transforming the gallery space into a lesbian feminist library. One wall is lined with reproductions of drawings made to document and honour the books in the Archives’ holdings. The installation pays homage not only to the Lesbian Herstory Archives, but to all feminist presses, bookstores and libraries that advocate for the significance of women’s stories, histories and acts of resistance. The drawings also serve to memorialize the disappearing history of material texts that have long connected queer communities, as women’s publishers and bookstores (“essential meeting places for lesbians, and for all women”) become lost in the digital age. The sculptures in the installation, made from paper mâché worked over mannequins, are “imposing in size, humorous in disposition and completely exposed in their nudity”. They represent archivists, librarians, students and readers. Their exaggerated genitalia, like much of Mitchell’s other