In the age of the so‐called ‘expressive organization’ and the ‘aesthetic economy’, for an organization to compete in the global marketplace it would appear that it must perform. This does not refer simply to economic performance, but rather to the idea of performance as a means of affecting both people's impressions and definitions of reality. In this article we argue that such performativity is achieved, in part, through the power of symbolism and aesthetics, as well as the capacity to bring oneself into being in an environment in which successful management of the aesthetic has increasingly become a prerequisite for the conferment of recognition. Central to this process are the ways in which the aesthetics of gender are mobilized and indeed simultaneously ‘done’ and ‘undone’ in order to affirm particular, but often unstable, regimes of managerially desired meaning. Drawing on the work of Judith Butler, and informed by a critical or hermeneutic structuralism, we are concerned here to think through the relationship between performativity and the gendered organization of the desire for recognition as it is materialized in, and mediated by, the landscaping of corporate artefacts and organizationally compelled ways of un/doing gender. With this in mind, we consider a series of images taken from a sample of recruitment documents that, as cultural configurations that organize and compel particular versions of gender, we argue, are concerned with the production of organizationally legible and therefore viable gendered subjects.
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