In 2000, I was invited to participate in a show at the New Museum in New York called, “Picturing the Modern Amazon” on representations of hyper-masculine women. Armide 2000 had not been made yet. I was, however, thinking a lot about race and gender because I was dealing with those issues in an installation piece for the Public Art Funds’, “In the Public Realm” program. I recalled Jean Luc Godard’s short film, Armide, which was part of a larger project, Aria, a compilation of films by nine other directors set to classical music. Godard’s mis-en-scene is such that the women who play maids in the gym are caricatures of hyper-femininity. The maids in my film embody the same frustrations of desire and invisibility, except they are men.