African American sculptor Richmond Barthé (1901-1989) conjoined issues of sexuality and race in works that foreground the aesthetic worth of Black bodies. While exposing Western figuration practices that exclude Black people from artistic visibility, Barthé also targeted the African American distaste for the explicit treatment of nudity. Barthé's androgynous sculptures have by now become the trademark of his art, but Barthésian scholarship still neglects the significance of a small group of statues, which de-emphasize the aura of same-sex desire, in order to explore the intricacies of corporeal ambisexuality. In view of his homoerotic depictions and the presence of the hermaphrodite at the core of his disruption of the sexual dichotomy, the frequent assumption that Barthé remained "closeted all his life" does not stand critical scrutiny. Instead of taking refuge in the sexual closet, Barthé debunked the man/woman binary as the foremost epistemic construct that prompts the societal need for sexual self-misrepresentations.
Keywords: Androgyny and hermaphroditism; Black homoeroticism; nudity and nakedness; race alterity; same-sex/other-sex sexuality; sex and gender; sexual and race taxonomies; sexual difference; sexual intermediariness; third sex.