This practice-led research project speaks to the queer body and its ongoing struggle with representation, a body continually facing or enacting its own disappearance. The term queer emerged in the 80s and 90s as an act of reclamation. It mobilised against its historical meaning as a site of abuse and social exclusion. In part as a consequence of Judith Butler's internal challenge to feminism, which sought to expand its parameters beyond a naturalised concept of woman, the term came to represent both a positive and negative force in relation to LGBT+ identity. It came to stand for a politics of permanent self-critique. Whereas some LGBT+ rights movements called for visibility and inclusion, seeking rights and assimilation, queer movements troubled these demands. Inviting cohesion while aiming to remain provisional, the term became a 'necessary error' (Butler, 1995). Most critically, its meaning lay in its movement; both in its use as a verb and in the sense that, in being open to permanent contest, it would also need to remain open to permanent transformation. This project responds to this sense of paradox in the context of contemporary art, exploring the competing demands of visibility and resistance through performance practice. It speaks to an art industry that so often appears incongruous with queer politics and responds to the way in which these politics pressure the industry's normative operations; its normalised exclusivity and exclusions. In doing so, the project asks how art can be otherwise and responds through a series of artworks that lean towards the domain of life. These begin as performances in the exhibition space but unfold into writing, through which the project re-imagines the parameters of performance art and explores the body as a site of representation and reflexivity. These performances situate the dynamic of visibility and invisibility, central to queer thought, within the dynamic of art and life, exploring the former in material and embodied terms. Further, the project uses this investigation to speak back to queer theory in its recent turn to the body, contributing a speculative proposition for how life and language can meet. In order to consolidate the chronology through which this project evolved, the thesis moves backwards in time, initially situating the problems to which my practice speaks, then unfolding this practice as a response. The first chapter, No Single Theory, examines a history of queer thought in order to situate the problems of visibility and representation for queer identity today. The second, Impossible Bodies, briefly ties this to parallel problems in contemporary art, and performance practice more specifically. The third, brief, chapter-interlude, Typologies, shows the way in which my artworks make attempts to take on discursive form, while the last chapter unfolds these artworks in writing. Through this process, the project examines the political legacies of contemporary art and attempts to draw on these to imagine novel ways in which art can be lived. In doing so, it seeks to hold on to these legacies as an important resource for queer art and activism, opening a dialogue between the shared political urgencies of aesthetic and queer theories today, both of which question the nature of value and seek to transform it.