y first encounter with this enigmatic practice was in So’s Honours year at the Victorian College of the Arts, where he lip-synced to his AirPods at the Ian Potter Gallery in traditional Chinese opera costume. More recently, as a curator I commissioned a roving drag performance between Bendigo Art Gallery and La Trobe Art Institute in regional Victoria. It’s gratifying to follow the practice of an artist such as So over five years, witnessing themes solidify and new directions emerge, tracing threads of history and futurity. There’s the performance of gender,
