In 2007 Austria-born and New York-based artist Ulrike Müller mined the online searchable database of the Brooklyn Museum for queer historical references on the occasion of Herstory Inventory: 100 Feminist Drawings by 100 Artists, a collaborative project organized by the artist. While through the context of Herstory Inventory Müller was able to activate the rich resources of Brooklyn’s Lesbian Herstory Archive, she reported that her quest in the primarily city-funded museum was a difficult endeavor. 3Ulrike Müller and Corrine Fitzpatrick, “Putting the Invent in Inventory: Ulrike Müller in Conversation with Corrine Fitzpatrick”, in: Art Journal, Vol. 72, No. 2 (Summer 2013), 64–69, 68. Searching the database for the more obvious terms was barely successful. Only when using more subtle search criteria that entailed coded symbols such as ‘rainbow’ or ‘labrys’ (double axe), to give an example, potential traces surfaced. Those findings then may or may not stem from a queer attitude, but nevertheless hold a contingency for queer integration. Müller’s work highlights that the scarcity of queer remains is not only one of the collections (evidence of minority groups and positions is certainly less acquired and preserved), but of the organizing and indexing of cultural legacies. Hegemonic westernized canonization and collecting practices continue as a systemic problem within institutional structures. As Ann Cvetkovich and others have so compellingly pointed out, the western archive has been and still is a structure of “silencing, neglect and stigmatization” and queer counter archives “are also informed by the haunting archival absences that accompany the documentation of histories of violence such as slavery and genocide.” 4Ann Cvetkovich, “Queer Art of the Counter Archive”, in: Locks, Mia and David Frantz (eds.), Cruising the Archive. Queer Art and Culture in Los Angeles, 1945–1980 (Los Angeles: ONE National Gay & Lesbian Archives, 2011), 32–35, 32. Some absences may also be consciously sought for: In attempting to not only resist categorization but also to protect their lives, some queer subjects and communities have been deliberately concealed and withheld from popular dissemination.