In this paper, I discuss French-Moroccan artist Mehdi-Georges Lahlou’s theatrical performance The Ring of the Dove (2018) which debuted in 2018 in Rouen, France. Marking a shift from his previous work in scale as it included other performers, operatic singing, and light and sound elements, for this piece, Mehdi-Georges drew inspiration from an eleventh-century treatise on love by Al-Andalusian philosopher Ibn Hazm. The performance centered on absurdity and confusion, blurring the rigid distinctions between the East and the West, the past and the present, male and female by imagining the historical memory of Islamic Spain as a queer spectacle in the contemporary space and place of France. Mehdi-Georges and French dancer Killian Madeleine dance under Arabesque patterned lights, an array of prayer rugs, and a swinging incense burner—among other elements of self-consciously orientalizing camp. Dressed at various points in red stilettos and neutral-toned niqabs, the two perform a queer, genderfluid dance of desire for the other. Adding to this fluidity and indistinction, the vocalist for the performance, Jorg Delfos, is a classically trained, Dutch opera singer. Mehdi-Georges composed the opera in Arabic, which Delfos does not speak. What I highlight in my discussion of The Ring of the Dove is how it traffics in orientalizing stereotypes but it refuses to settle into a cohesive narrative. It challenges and disrupts, confusing the boundaries between categories. Like much of Mehdi-Georges’s practice, it confuses our memory—of the past and present, of the here and there—in a queer, genderfluid act of disorientation.