Since she shot her first film, Wildness (2012), in a Los Angeles gay bar frequented by the Latin immigrant community and set up a weekly club there for both patrons and queer artists of colour, Wu Tsang has been a lodestar for concerns since adopted by the wider artworld, particularly in relation to collaboration, inclusivity and decentred authorship. Anthem (2021), for example, a film portrait of Beverly Glenn-Copeland, was as much the transgender singer and activist’s work as Tsang’s; and the group she cofounded in 2013, Moved by the Motion, encompasses musicians, performers and the theorist Fred Moten. Given Tsang’s interest in fluidity of all kinds, it looks retrospectively perfect that in 2022 she and her collaborators began making works based on Herman Melville’s 1851 novel Moby-Dick. Between the feature-length, emphatically queered silent-film version – sometimes accompanied by live music and performance – and the psychedelic, extended-reality video installation that premiered at the last Venice Biennale and has been touring much of this year, Tsang’s Melvillian collaborative fantasia reaffirmed her as an artist of ocean-sized imagination and ambition.