Returning to drawing for the first time since childhood, Coetzee’s ink on paper works are propulsive, almost electric renderings of queer behavior in a suite of animals: hyenas, wildebeests, zebras, warthogs and giraffes. Informed by a foundational reading of eco-queer theory and art, Coetzee's first steps were very much to become knowledgeable and sensitive to other ways of being—to being otherwise—as demonstrated and embodied by animals. Coetzee shares glimpses of giraffes necking and warthogs bounding about, intently observing them in their own social worlds. Long engaged in an environmentally-focused, research-based and site-specific practice, Coetzee’s work in drawing finds the artist in a free and improvisational, albeit still decidedly rigorous mode. Freezing glimpses of queer intimacy in animal life, the drawings on view wordlessly express one of queer ecology's main tenets, demonstrating an often contested matter with just a few stained pools and lashes of whipping ink lines: that the purported “unnaturalness” of human queerness is rebutted by common, everyday queer behavior in the natural world.