Richard Fung (born 1954) is a video artist, writer, public intellectual and theorist who currently lives and works in Toronto, Ontario.

[4] Fung's work in video explores the role of Asian men in gay pornography, while addressing the intersections between colonialism, immigration, racism, homophobia, and AIDS.

Early on in his career Fung worked as an animator for community video production, and later became a staff producer at Rogers Cable.

[8] Initially studying at the Ontario College of Art and Design, Fung left school and worked as a video animator at Lawrence Heights, a public housing area in Toronto.

A former Rockefeller Fellow at the Center for Media, Culture and History at New York University, Fung has lectured across North America, Europe, Asia and Australia.

[13] Richard Fung, along with video activists Gregg Bordowitz, Jean Carlomusto, Alexandra Juhasz, and James Wentzy, shared a goal of looking back at the historical developments in AIDS activism and its normalization in North America.

Focusing specifically on racism and AIDS in the Asian community, Fung realized that their side was being ignored in the narrative that has primarily been about white gay men.

The degree at which social stigma takes place is bringing about the sort of shame and seclusion that has ravished the community during this time period.

[18] Steam Clean (1990) is a video commissioned by the Gay Men's Health Crisis (GMHC) of New York, and the AIDS Committee of Toronto.

[19] The sauna is instructional porn used to create a space that guides viewers into what may feel like a seminar room, for the discussion of safe sex by young community educators.

[19] Fung's use of the sauna as a setting is what some may call "homoscape," which are streams of cultural material moving back and forth from national boundaries of perceived stabilities.

In many of Fung's works relating to his family, such as Sea in the Blood (2000), he explores how lesbians and gay men experience being exiled by kinship.

The coming-out process provokes fraught relationships between members of LGBT and their families and the AIDS pandemic contributes to an environment of exclusion and disappointment.

His videos pull on subtle imagery, such as the use of waves and the sea (Fung on the beach with Nan as a child and later swimming with his lover Tim).

Exploring the conflicts between genders, ethnicities, racial differences and divergent communities of tastes, Fung touches on how presentation of film and video and its reception reflect paradoxes of identity, access, and power.

Audience reception is then rooted in ones' status and language, reflecting a hierarchical ladder of differences based on gender, race, and class.