NEEDLESS TO SAY , the artists in this show have moved beyond the old-fashioned idea of gender as two mutually exclusive categories. They're also past the conception of it as a linear continuum, with "male" at one end and "female" at the other. Gender, in their eyes, is almost undefined – an amorphous and elusive (but definitely not meaningless) concept that varies dramatically from one subjective point of view to another. Exhibition curators Eliot K. Daughtry and Kriss de Jong, co-owners of Killer Banshee Studios (which, along with the National Queer Arts Festival, is presenting this show), contribute some of the strongest works. With glass, wood, and paint, Daughtry plays out a series of intensely dramatic explorations into male sexuality using a unique cast of characters. He borrows them at will from a wide swath of histories and cultures; they range from Joan of Arc to a coyote and, most significantly, a pre-Disney Pinocchio, who was much darker and more complex in the original Grimm tale. De Jong begins each of her works as a conventional painting, usually of a brightly colored, graffiti-inspired, conspicuously nongendered figure. Then she scans the painted figure, digitally overlays it on a photograph, and prints the finished piece using a brand-new ink-jet-on-canvas technology. Her images look vaguely like paintings, and inkjet prints, and photographs, but also like "none of above"; this last is, not coincidentally, exactly the way de Jong views gender identity. Other standout artists in the show include Jenny Michals, whose incredible paintings are full of weighty, occasionally humorous, nongendered figures; Teri Claude Dowling, who uses costumes and prosthetics to remove gender from the constraints of the physical body; and Jordy Jones, whose sculptures include syringes and other ephemera of a female-to-male transition. Tues.-Sat., noon-4 p.m., 934 Brannan, S.F. (415) 552-2131. (Lindsey Westbrook)