This article demonstrates the resistance of underground queer artists by examining the experimental films Opaque (2014) and I WANT (2015), and Chantal after James Bidgood and Jean Genet (2016), by James Crewe. Both the film Opaque and I WANT utilize a series of historic sources that are re-performed on screen. The film Chantal after James Bidgood and Jean Genet which was installed at Transmission Gallery, utilizes Genet's work to illustrate trans-feminine subjectivity within the historical homosexual culture. In summary, the article reveals the problem of institutional recognition in relation to trans visibility in the contemporary art world. It also requires us as viewers to recognize the unequal political values that might be hidden in the institutions that they belong to, which aligns with the queer artists' moving image works.