It is, in other words, with a purposeful critical promiscuity that LTTR puts itself forward.
With every issue, LTTR draws on the resources of friends and colleagues, sharing the labor according to skills and energies; as much as the journal stems from do-it-yourself impulses, it is always a finely wrought object.
In fact, LTTR often explicitly references previous feminist practice, as in the title of the journal's fourth issue: "Do You Wish to Direct Me?
The term queer was reclaimed circa 1990 to signal solidarity between gay men and lesbians (even as the word came off as erasure to some dykes), and the shifting nature of the "lesbian" in LTTR suggests a continuing search for new terminology to help us negotiate increasingly complex relationships to sex and self.
In fact, the political resonance of LTTR may be discerned best in its sprawling live events, multiform publications, and curatorial endeavors, as the group reaches out to a somewhat improvised network of artists, activists, and theorists that could be called a community at a time when it is increasingly difficult to speak with any confidence about what was once called the public sphere.
For the Explosion, LTTR also played matchmaker by pairing artists--most of whom did not previously know each other or each other's work--to collaborate for one day in the Art in General storefront window.
As Jacob, one of the Explosion LTTR collaborators, explains, "To ask strangers to collaborate is risky; it's an experiment that could have collapsed.
and let yourself groove," published in a 2003 issue of the feminist journal LTTR
, Greenwood argues that, while pausing a video is typically regarded as a temporary disengagement with what one is watching, this (in)action on the contrary creates the space in which real participation can happen, where passive viewing opens up to the possibility of agency.