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"The performance is thus a kind of talking back, one that remains largely constrained by the terms of the original assailment: If a white homophobic hegemony considers the black drag ball queen to be a woman, that woman, constituted already by that hegemony, will become the occasion for the rearticulation of its terms; embodying the excess of that production, the queen will out woman women, and in the process confuse and seduce an audience whose gaze must to some degree be structured through these hegemonies, an audience who through the hyperbolic staging of the scene, will be drawn into the abjection it wants both to resist and to overcome."