In 1886, a statue of Antinous, beloved of Roman Emperor Hadrian, was installed at University College London for reasons that remain unknown. Building on queer aesthetic theory, I argue that queer statues such as this can be used to transform the public spaces they adorn from sites of violence into venues for the experience of queer ecstasy. This argument builds on the iconoclastic logic of movements like Rhodes Must Fall, which insist that public statutes simultaneously do violence within our public spaces and reflect a violent politics that extends beyond them. Articulating the histories of the statues that adorn our public spaces offers the public political philosopher the opportunity to enliven these statues with an explicitly queer aesthetic capable of inspiring ecstasy among their audience. It also provides the opportunity to critique the politics responsible for eliding this queerness in the first place and making our public spaces so violent for minoritarian subjects. Exemplifying this work, I utilise Saidiya Hartman’s technique of critical fabulation to offer a narrative of Antinous distinct from the imperial rhetoric that traditionally surrounds his image, transforming his presence at University College London into something ecstatic and reclaiming the public space he adorns in the process.

Antinous was the young, male lover of Hadrian. His premature death in A.D. 130 led to an oddly extravagant commemoration. Post-Renaissance he became one of the most collectable portrait types. This article re-examines the corpus of portraits as it is currently configured. Its primary aim is not to exclude or add pieces but to question the criteria on which inclusion and exclusion are based. This questioning cuts to the heart of issues of identification, dating, and authenticity which impact on art-historical classification more generally. It exposes how in some ways the modern Antinous is one of the discipline's making.