| Summary: | Originally installed as a mural in the London Borough Polytechnic, Duncan Grant’s Bathing (1911) provoked anxieties that it would lead to the moral decay of working-class youth. Employing critical theory, this article finds the root of those anxieties in the painting’s linkage of naked homosociality to a subtle but pervasive figuration of desire, which Grant constructs via a sophisticated design programme. Grant’s democratic fantasy of homoerotic desire echoes that of his Bloomsbury colleague, E. M. Forster, whose dictum “only connect” induces a state of inoperative touch, made intelligible by Jean-Luc Nancy. The effects of Grant’s composition, when viewed through the repetition theory of Gilles Deleuze, create not only a space but a time of desire, a potentiality located in the figure of the peripheral, uncoupled bather. Poised on the brink of sexual self-awareness, this figure invokes a positive form of Narcissus, liberated from the Freudian taint of homosexual non-productivity.
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