When viewers gaze through the perspective of the clit, phallocentric hubris in Museum exhibitions is filtered out, allowing the viewer to attain neutral vision

In May 2014, I invited the public to join me in helping the Whitney Museum of American Art with its “illCLITERACY” problem. The exhibition that year was less diverse in terms of race and gender than it had been in the early 90s. It was also saturated with phalluses. Penises proliferated across paintings, photographs and sculptures. One room contained hundreds of them, while the entire museum lacked a single representation of the clit. My intervention included a new technology called “CLITglass” which can be worn by anyone. When viewers gaze through the perspective of the clit, phallocentric hubris in Museum exhibitions is filtered out, allowing the viewer to attain neutral vision. CLITglass can also be worn at work, while consuming media or at family reunions. The second part of my intervention was creating “CLITforms” in primary colors. I excluded the color white, as the Whitney Museum seems to have white covered. Participants were invited to play a game "Put A Clit On It" whereby placing the unknown, un-curated CLITforms wherever they saw fit, in the Museum. For one night, we CLITdazzled the Whitney.

My intervention was part of The Clitney Perennial which included 25+ artists and was organized by Go Push Pops and Anne Sherwood Pundyk.