Gender impersonators and trans gender-nonconforming people have long been a source of fascination within the visual arts. Nevertheless, illustrators and photographers alike have perpetually instrumentalized the image of the queer subject as a visual shorthand for criminality, freakishness, and deception. Beginning with the broadside illustrations of José Guadalupe Posada, this article examines how visual representations of Latinx queerness and gender nonconformity shifted across the Americas and throughout the late nineteenth century into the late twentieth century. Ultimately, I contend that Reynaldo Rivera’s photography of late-twentieth-century ballroom culture provides a substantial departure from these speculatory conventions by visually legitimizing the lived authenticity of the queer Latinx people who populate his work.

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弥合距离的有利位置：雷纳尔多·里维拉和跨越时空的酷儿奇观的视觉遗产

性别模仿者和跨性别者长期以来一直是视觉艺术的魅力源泉。尽管如此，插画家和摄影师始终将酷儿主题的形象工具化，作为犯罪、怪异和欺骗的视觉速记。本文从何塞·瓜达卢佩·波萨达 (José Guadalupe Posada) 的大幅插图开始，探讨了拉丁裔酷儿和性别不合规的视觉表征如何在美洲以及整个 19 世纪末到 20 世纪末发生转变。最终，我认为，雷纳尔多·里维拉（Reynaldo Rivera）对二十世纪末舞厅文化的摄影与这些投机惯例有很大的不同，他的作品中的酷儿拉丁裔人的生活真实性在视觉上合法化。