72 18”x24” inkjet prints on paper, 27'x6'
Above detail (Stanza 4, top left to bottom right):
Audre Lorde, "Open Letter to Mary Daly," This Bridge Called My Back, ed. Cherríe Moraga and Gloria Anzaldúa, (Albany, NY: SUNY Press,  2015) 91; June and Jennifer Gibbons, quoted by Marjorie Wallace, "The Tragedy of a Double Life," The Guardian, 12 July 2003; Assata Shakur, 1977; Sylvia Rivera, 1973; Elizabeth Freeman,Time Binds: Queer Temporalities, Queer Histories (Durham, NC: Duke University Press, 2010) 109; Shigeko Kubota, Vagina Painting, 1965; Jonathan Swift, "The Lady's Dressing Room", 1732; Julia Kristeva, Powers of Horror: An Essay on Abjection, trans. Leon S. Roudiez (New York: Columbia University Press, 1982) 3; Gwendolyn Brooks, "The Mother," 1963; Mako Idemitsu, What A Woman Made, 1973; Sara Ahmed, "Evidence," feministkilljoys.com, 12 July 2016; Howardena Pindell, Free, White and 21 (1980); Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (New York: Routledge,  2006) 8; The Guerilla Girls, Do women have to be naked to get into the Met. Museum? (1989); Elizabeth Bishop, "One Art," 1976; Adrian Piper, Out of Order, Out of Sight, Vol 1: Selected Writings in Meta-Art (Cambridge, MA: MIT Press, 1996) 246.
The 72 posters that compose Cite/Site display enlarged fragments of highly-circulated digital images and quotations. All are visual or discursive artifacts of feminine interdiction—that is, moments when women tried to speak on behalf of themselves, or behalf of each other, and were not believed. The work is organized into four stanzas, three rows of six posters each.