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I first heard about the work of performer, musician and artist Kembra Pfahler in the early ’90s when a friend told me she’d seen a Richard Kern film Sewing Circle (1992) that documented Pfahler getting her vagina sewn shut. I recall her gesture making me feel sad and a little sick, yet I mostly felt deep admiration for the extremity of her self-possession. Here she was taking on rape culture (among other violences), prohibiting the penetration of her body by means of needle and thread, the classic tools of “woman’s work.” Perhaps best known for her death rock project the Voluptuous Horror of ....

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