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Andy Warhol was queer in more ways than one. To begin with, he was a fabulous queen, a fan of prurience and pornography, and a great admirer of the male body. This queerness was "known," in one way or another, by the gay audiences who enjoyed his films, the police who censored them, the gallery owners who excluded his sketches of male nudes from exhibits, the artists who were made uncomfortable by his swishiness, not to mention the drag queens, hustlers, speed freaks, fag hags, and others who populated the Factory. Considering then, on the one hand, that many people knew enough about Warhol's sexuality to let it guide their response to him and evaluation of him and his art and, on the other, that Warhol has become a central figure in work on postmodernism, the avant-garde, mass culture, film studies, high art/low art, and American art history, we might expect that there already would be a rich body of criticism exploring, appreciating, celebrating, or at least mentioning the role of Warhol's queerness in the production and reception of his films and art.

However, with few exceptions, most considerations of Warhol have "de-gayed" him. Warhol's critics have usually aggressively elided issues around sexuality or relegated his queerness to the realm of the "biographical" or "private" to usher in his oeuvre to the world of high art. Or when they have alluded to Warhol's sexuality, usually without mentioning that he was gay (more often "asexual" or "voyeuristic"), it has only been in order to moralize about the "degraded" quality of Warhol's art, his career, and his friends. Despite the fact that many people "knew" that Warhol was gay, hardly anyone, at least in the world of criticism and theory, will speak of it. As Mandy Merck notes, "Out as Warhol may have been, gay as My Hustler, Lonesome Cowboys, Blow Job may seem, his assumption to the postmodern pantheon has been a surprisingly straight ascent, if only in its stern detachment from any form of commentary that could be construed as remotely sexy."

The academic disciplines, defining as they do what counts as scholarly work, have encouraged the process by which concerns around sexuality are perpetually deferred to some other body of knowledge, some other line of inquiry. As Foucault put it, "A proposition must fulfil some onerous and complex conditions before it can be admitted within a discipline," conditions that have played no small role in foreclosing the possibility of making any propositions about Warhol's queerness in relation to his rich body of cultural production. Often, some of Warhol's audiences, themes, figures, and indeed many of the works of art themselves are simply removed from the field of critical consideration. . .

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