“I’ve always been obsessed with losing my memory because it’s something that runs in my family,” Mohamad Abdouni remarked last year. Long a driving force of his practice, photography has allowed him to excavate, reinvent, and remember queer histories in Arab cultures. Here Abdouni shifts view to his home region of Beqaa, Lebanon. In pulling apart family photo albums, subjecting them to the scrutiny of his loving but unsentimental gaze, the artist returns to his childhood navigations within the complex cultural norms of a heterosexual masculinity and male camaraderie that embody Eve Kosofsky Sedgwick’s theory of “male homosocial desire” grounded in anti-queerness. The exhibition’s title refers to other types of skills soldiers might be required to demonstrate outside mastery of arms. In Abdouni’s hands, time-worn family images become soft evidence, pointing to the ways in which a child’s queerness resisted masculine norms and strained interfamilial relationships. A father gazes, disapprovingly perhaps, towards a little boy posing cross-legged in a green plastic chair (How to Properly Sit on a Chair, 1996). “Straighten your screws,” Abdouni was told as a child. Act like a man. Yet, the deliberate selection of images here—mostly of men, mainly Abdouni’s father—disrupt stereotypes of Middle Eastern men …