Representations of sexuality have long been taboo in Hong Kong. Witness the recent censorship furore over Dame Elizabeth Frink's New Man sculpture. It reveals how this is a city often ill at ease with itself. Recent months have seen several exhibitions and theatre productions addressing sexuality, both gay and straight. In the Fringe Festival, there was Two or Three Men I Would Like To Pick Up, But Not Quite Work, theatre Resolu's Broken Edges of a Mirror, Edward Lam's Wildlife in the Fast Lane and current works by Ellen Pau and Jimmy Style Branch 3. Installation artist Ellen Pau's brand of subversive sexuality is highlighted with her wall statement for The Great Movement, at the Goethe Institut until April 24. Quoting feminist theorist Julia Kristeva, she spells out in large letters: 'I expel myself. I spit myself out. I abject myself with the same motion through which I claim to establish myself.' Below is a small video viewfinder where one can find a gesturing hand marked by a red spot. Pau's video installation inside is a projection of a lone island with a lighthouse where a faint beacon turns ceaselessly. The grainy 1950s monochrome footage is accompanied by a foghorn. At the opening, dancer Dick Wong collaborated with Pau and performed a piece where he swirled like a skater on thin ice and slowly collapsed on the floor. Pau's earlier pieces include an installation where in a narrow alley filled with rocks, we find tiny video projections of her rolling and struggling. Although this work is difficult to define as being purely about sexuality, it projects an experience where the female body can be seen metaphorically through the lighthouse as either a quiet stasis or a silent refusal. The drama of the image resounds with a sense of loneliness and loss through the news reel. Drama of a different genre is generated by Jimmy Kwok's Work Hard For Your Man, which played at the Arts Centre last weekend, to a sold-out, predominately young crowd. Kwok has worked previously with dance group Zuni Icosahedron, and with local choreographer Edward Lam. The story involves our over-worked, over-weight hero Martin, jilted by his lover Gary. Martin recovers through help from his confidante Deborah. Through her, he meets her cousin and new flatmate Carson. Their love flourishes until Martin is faced with a difficult choice when Gary returns. The story is at times embarrassingly juvenile, and there were so many scene changes with sets being moved on and off that the audience became increasingly agitated. However, an adaptation of the Romeo and Juliet balcony scene, in which Martin and Carson spit out the truth is carried out without a hint of kitsch. Work Hard could be said to be childishly charming and endearing, its poignancy heightened by a certain naivety. But it is also disappointingly amateurish, like an over-ambitious school play. Ellen Pau - The Great Movement, Goethe Institut, April 13-24; Jimmy Style Branch 3 - Work Hard For Your Man, Arts Centre, April 13-14