As art historian Alison Syme has shown, the “hermaphroditic” subjectivity of flora offered artists at the turn of the twentieth century such as John Singer Sargent a way to queer the poetics of painting (Sargent himself likened the act of painting to hand-pollination). Rogers pushes this secret history into the present and out in the open. Like the kind of intergenerational queer friendships he often cites as his inspiration, Rogers’ pictures offer a reparative vision of queer joy that is—and this might be the most shocking thing of all about them—not timeless but historical.