想象这样一个场景,在一家女同性恋酒吧里,有这样一尊雕塑:三位站立的女子赤裸地依偎在一起,只有一条缎带无缘无故地遮住了她们两腿间的地带;中间的那个似乎是宠爱的中心——她的面颊遇上了左边的女子的双唇,而右边那个正一脸暧昧地抚摸着她的乳房。这是一尊玻璃钢制成的复制品,它的原作是意大利新古典主义雕塑家安东尼·卡诺瓦于1817年完成的大理石雕塑,现如今被安放在圣彼得堡的艾尔米塔什博物馆里。再想象另外一个场景,在一家男同性恋夜店的卫生间里,挂着这样一张画:灰调子的背景下,一位年轻的男子低头走来,他身上只着一条贴身的白色底裤,面带迟疑,闪躲着观者的目光,双手叉腰,走向一片未见的水域。虽然灯光昏暗,但依然认得出这画面出自塞尚1885年创作的《沐浴者》,若要见得原作,就只能去纽约现代 Imagine a scene where, in a lesbian bar, there is such a sculpture: the three standing women snuggle snugly together and only one ribbon covers the area between their legs for no apparent reason; the one in the middle seems to be Pampered center - her cheeks met the left side of the woman’s lips, while the right one is touching the breast with an ambiguous look. This is a replica made of fiberglass, originally a marble sculpture by Italian neoclassical sculptor Anthony Canova completed in 1817 and now housed in the Hermitage Museum in St. Petersburg. Imagine another scene in the bathroom of a gay night club with a picture of a young man coming down with gray tone backing, with a white underwear on his face and a Hesitant, dodging the viewer’s gaze, his hands on his hips, toward an unseen waters. Although the lights dim, but still recognize this picture from Cezanne in 1885 created the “bathers”, to see the original, you can only go to New York Modern