Ronak K. Kapadia’s deeply conversant and well researched Insurgent Aesthetics: Security and the Queer Life of the Forever War brings queer, affect-oriented methodologies to bear on an analysis of Arab, Muslim, and South Asian diasporic art. It is these communities after all, Kapadia points out, who undergo increased scrutiny in the United States and Europe after September 11, 2001. According to the author, these diasporic artists engage in an insurgent aesthetic “against empire’s built sensorium,” which is a visual cultural practice that offers an alternative embodied critique of “US empire’s perverse logics of carcerality, security, and war” (10).