How anyone could give this 5 stars is beyond me.
Egon Schiele gets a look in, even though he was never inclined towards a gay sensibility, because he knew another artist who was gay, and this (apparently) resulted in a queering of Schiele's perspective.
In a similar vein, Boakye who has never identified herself as part of the LGBT+ spectrum, is admitted into the queer hall of fame because she painted a picture of two Black males in underpants. Where does the subversion lie? In a female artist looking at underpants? Or the two Black males, in underpants, pulling on their socks, and being together?
The bizzarest entry is on Barthe and the Harlem Renaissance. Barthe was gay. But he is included because his sculpture The Fallen Aviator was commissioned by a Black male for his dead friend. Of course, these two men must have been gay because they sought out a gay sculptor! And this demonstrates that the sculpture therefore possesses a queer aesthetic? There is nothing unusual whatsoever about Barthe's sculpture, in fact, it is a standard,classical male nude - a sort of angel with wings.
The book shows how far the word "Queer" can be spread ... to the point of having little meaning. Everyone could be a queer artist according to this book from The Tate (no less).
This queer history of art also manages to leave out artists who were certainly queer. Bacon is included, but Vaughan, Minton, Haring and Jarman are omitted. Brooks joins the canon, but not Gluck, or Carrington, or Hambling. Moss is included, as woman who dressed as a man, and this crossing of gender leads to speculation as to whether or not abstracts, which are not gendered, can become queer.
Is there such a thing as a queer line that challenges normative identities? Well, there is a subject for a Tate exhibition of the future.
Sigh.