Academics often comment that their teaching affects their research, but how this manifests is often implicit. In this essay, I explicitly explore the artistic, scholarly, and curatorial research instantiated by an undergraduate class titled “Transgender Studies meets Art History,” which I taught during the fall of 2022. Alongside personal anecdotes—both personal and connected to the class—and a critical reflection on my pedagogy, I discuss the artwork and public programming connected to a curatorial project, “Forever Becoming: Decolonization, Materiality, and Trans* Subjectivity, I organized at UrbanGlass, New York City in 2023. The first part of the article I examine how “trans” can be applied to thinking about syllabus construction and re-thinking canon formation for a class focused on transgender studies’ relationship to art history. In the second half, I theorize trans joy as a felt vibration between/across multiplicity and singularity, belonging and unbelonging, and world-making and world-unmaking. Overall, I consider trans as a lived experience and its utility as a conceptual tool. As a coda, I consider the precarity of teaching this course in the current political climate of the United States.
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Alpesh Kantilal Patel (2024) studied this question.
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