Everyone carries a shadow, and the less it is embodied in the individual's conscious life, the blacker and denser it is.

‘Āina gives us something that we can not just appropriate, but actually can decolonize ourselves by.

To confront a Toor then is to reckon with the nature of art history itself. And simultaneously, it is to imagine a vision of optimistic queer futurity that begins with recognition as a radical form of community building.  From paintings of beleaguered South Asian folks worn out in airport security lines, to reconfigurations of queer non-binary folks caught in the heady desire of an embrace, Toor carves out a space for new and vivacious subjectivities that have long been hushed or glossed over.