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Despite growing debate about the role of monuments in diverse societies, there has been insufficient attention to contestations that have emerged involving 'gay' or 'queer' monuments. This article examines the politics of inclusion and exclusion that can stem from the social practices that evolve around these monuments, particularly as the imperatives and priorities of LGBTQ (lesbian, gay, bisexual, transgender and queer) activism evolve while monuments, created in a particular historical and geographical context, are in some sense 'set in stone'. Drawing on an intensive, mixed-methods case study of the Homomonument in Amsterdam, the article develops a grounded critique of processes of inclusion and exclusion specifically in relation to Black, bisexual and transgender people. With a focus on dance parties organised at the Homomonument, the article calls for more research that analyses monuments as sites of practice. [ABSTRACT FROM AUTHOR]

This article contributes an original critique at the nexus of public art, activism (i.e. public artivism) and migration alongside the promotion of inclusive change. It pushes at transdisciplinary boundaries by integrating geohumanities scholarship on socially engaged public art whilst adopting a queer theory approach to foreground and interrogate the socially marginalised. The focus is on Schellekens & Peleman's multi-site Inflatable Refugee installation, in response to the topical migration question, and the public performances and discourses that surround the migrant figure. An in-depth critical discourse analysis drawing from an interview with the collective and key documentation critically probes into the uses of public art(ivism) to raise issues particularly around the (mis)represention of this migrant figure. The case study evinces ambiguous modus operandi of public artivist practice. Although it may promote inclusive citizenship through 'queering' identity politics and migrant hyper-visibility, the material and socio-spatial affordances (along with limitations) of public artivism do not necessarily develop its full potential. [ABSTRACT FROM AUTHOR]