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Notes
Introduction
1 Fever in the Archive: AIDS Activist Videotapes from the Royal S. Marks Collection
was curated by Jim Hubbard and consisted of eight programs that ran between
1–9 December 2000 at the Guggenheim Museum in New York. The series was
subsequently shown in Minneapolis, San Francisco, Milwaukee, and London.
2 Crimp noted in a 1991 interview how “the incommensurability of experiences”
contributed to the traumatizing effect of the epidemic on queer people: “Cer-
tain people are experiencing the AIDS crisis while the society as a whole doesn’t
appear to be experiencing it at all. Richard Goldstein said that it’s as if we were
living through the Blitz, except that nobody else knows it’s happening.” Caruth
and Keenan, “AIDS Crisis Is Not Over,” 256.
3 The Estate Project for Artists with AIDS, a nonprofit organization dedicated to
preserving the cultural legacy of the AIDS crisis, hired the filmmaker and archi-
vist Jim Hubbard in the late 1990s to collect and oversee the preservation of AIDS
activist video produced in the United States. Hubbard eventually collected over
two thousand hours of completed works and video footage (mostly from makers
in New York City), which were then deposited in the New York Public Library, the
only institution willing to accommodate the collection in its entirety. One thou-
sand hours of the collection were remastered in Beta SP for preservation and vhS
dubs made available to the public for screening in the library. Full listings of the
collection’s holdings are available in the library’s online finding aid (www.nypl
.org/research/chss/spe/rbk/faids/aidsvideo.pdf ).
4 Given that I move between analyses of films, videos, and moving-image installa-
tions, I am using the term media as the plural of medium, rather than in the total-
izing (and vague) singularity often referred to as “the media.”
5 For example, three of the major works of AIDS cultural analysis situate John
Greyson’s groundbreaking AIDS musical Zero Patience (1993) within specific
battles over AIDS representation, but they offer only a brief critical analysis of
the film itself. See Juhasz, AIDS TV, 129–30; Treichler, How to Have Theory in an
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