As a politically engaged queer artist, Avram Finkelstein’s practice has centered on gendered hierarchies, gravitating toward public spaces in an attempt to reflect questions of access. Currently, he is reconsidering whether non-traditional art spaces render accessibility solely through “public-ness,” or gain social meaning through the ways they are instead “shared,” which he finds a more accurate metric for defining accessibility. Spurred by readjustments to his own increasing disability, the way every social space is simultaneously accessible and restricted is foregrounded for him as he becomes progressively interested in the activation of shared space as a means to measure any prior generosities the word “public” implies. As a consequence, Finkelstein is drawing on translucent vellums and lightweight voiles, presented as free-standing objects that “perform” representation as a process activated by the viewer’s presence, through the shadows and winds created while observing them, anthropomorphizing their multi-dimensionality. Notation is a method for memorization, inculcating experience or cognition through physical codes. As a life-long notetaker, Finkelstein has also drawn his whole life. His hand, however, no longer belongs to him, and it dictates its own language. As a result, his work has expanded beyond intellectual questioning of gendered representation and morphed into an expressionistic war, or dance, or chronicle of the tenuous reacquaintance with his own disobedient body, triggering a more pointedly personal exploration of corporeality as a system in flux. Finkelstein’s practice is wholly absorbed in gesture as a form of codification—of note-taking—to help re-situate how social spaces might function.