In this article, I explore the way that the creation and presentation of Lloyd Newsom's Dead Dreams of Monochrome Men (1988) for DV8 confronted the choreographer, performers, and audience with questions about the ethics of sex and romance and the treatment of gay men during the AIDS crisis. To analyze the complex affective relationships within and around the piece, I follow Emmanuel Levinas's ethical theory of the face in conjunction with Gilles Deleuze and Felix Guattari's related theory of faciality, which I interpret as referring to a disciplinary situation in which subjects are created through a process of terrorizing and shaming.
