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Touching Feeling is written as a reminder of the early days of queer theory, which Sedgwick discusses briefly in the introduction in order to reference the affective conditions—chiefly the emotions provoked by the AIDS epidemic—that prevailed at the time and to bring into focus her principal theme: the relationship between feeling, learning, and action. Touching Feeling explores critical methods that may engage politically and help shift the foundations for individual and collective experience. In the opening paragraph, Sedgwick describes her project as the exploration of "promising tools and techniques for nondualistic thought and pedagogy."

She received the 2002 Brudner Prize at Yale. She taught graduate courses in English as Distinguished Professor at The City University of New York Graduate Center (CUNY Graduate Center) in New York City, until her death in New York City from breast cancer on April 12, 2009, aged 58.

In 1993, Duke University Press published a collection of Sedgwick's essays from the 1980s and early 1990s. The book was the first entry in Duke's influential "Series Q," which was initially edited by Michele Aina Barale, Jonathan Goldberg, Michael Moon, and Sedgwick herself. The essays span a wide range of genres, including elegies for activists and scholars who died of AIDS, performance pieces, and academic essays on topics such as sado-masochism, poetics and masturbation. In Tendencies, Sedgwick first publicly embraces the word 'queer,' defining it as: "the open mesh of possibilities, gaps, overlaps, dissonances and resonances, lapses and excesses of meaning when the constituent elements of anyone's gender, of anyone's sexuality aren't made (or can't be made) to signify monolithically."

Sedgwick is perhaps best known not for her books, but rather for an article she published in 1991, "Jane Austen and the Masturbating Girl." The very title of her article attracted much attention from the media, most of it very negative. The conservative American cultural critic Roger Kimball used the title of her article as evidence of left-wing "corruption" in higher education in his 1990 book Tenured Radicals, when Sedgwick delivered a talk on her upcoming article at a conference of the Modern Language Association in late 1989. When Tenured Radicals was published in April 1990, Sedgwick's little known speech at the Modern Language Association suddenly became famous. Sedgwick felt Kimball's criticism of her in Tenured Radicals was highly unfair, given she had not actually written the article, which was published only in the summer of 1991, and therefore he dismissed her article only on the basis of the title. The British critic Robert Irvine wrote much of the negative reaction that "Jane Austen and the Masturbating Girl" generated, which became the subject of heated debate in the American "culture war" between liberals and conservatives, was due to the fact that many people could not accept the thesis that Jane Austen had anything to do with sex.

In 1991, Sedgwick was diagnosed with breast cancer and subsequently wrote the book A Dialogue on Love. Sedgwick recounts the therapy she undergoes, her feelings toward death, depression, and her gender uncertainty before her mastectomy and during chemotherapy. The book incorporates both poetry and prose, as well as Sedgwick's own words and her therapist's notes. Though the title connotes the Platonic dialogues, the form of the book was inspired by James Merrill's "Prose of Departure" which followed a seventeenth-century Japanese form of persiflage known as haibun. Sedgwick uses the form of an extended, double-voiced haibun to explore possibilities within the psychoanalytic setting, particularly those that offer alternatives to Lacanian-inflected psychoanalysis, and new ways for thinking about sexuality, familial relations, pedagogy, and love. The book also reveals Sedgwick's growing interest in Buddhist thought, textiles, and texture.

Sedgwick's inspiration for Epistemology came from reading D. A. Miller's essay, 'Secret Subjects, Open Subjects', subsequently included in The Novel and the Police (1988).

During her time at Duke, Sedgwick and her colleagues were in the academic avant-garde of the culture wars, using literary criticism to question dominant discourses of sexuality, race, gender, and the boundaries of literary criticism. Sedgwick first presented her particular collection of critical tools and interests in the influential volumes Between Men: English Literature and Male Homosocial Desire (1985) and Epistemology of the Closet (1990).

Sedgwick published several foundational books in the field of queer theory, including Between Men: English Literature and Male Homosocial Desire (1985), Epistemology of the Closet (1990), and Tendencies (1993). Sedgwick also coedited several volumes and published a book of poetry Fat Art, Thin Art (1994) as well as A Dialogue on Love (1999). Her first book, The Coherence of Gothic Conventions (1986), was a revision of her doctoral thesis. Her last book Touching Feeling (2003) maps her interest in affect, pedagogy, and performativity. Jonathan Goldberg edited her late essays and lectures, many of which are segments from an unfinished study of Proust. According to Goldberg, these late writings also examine such subjects as Buddhism, object relations and affect theory, psychoanalytic writers such as Melanie Klein, Silvan Tomkins, D.W. Winnicott, and Michael Balint, the poetry of C. V. Cavafy, philosophical Neoplatonism, and identity politics.

Eve Kosofsky Sedgwick (/ˈ s ɛ dʒ w ɪ k / ; May 2, 1950 – April 12, 2009) was an American academic scholar in the fields of gender studies, queer theory (queer studies), and critical theory. Sedgwick published several books considered "groundbreaking" in the field of queer theory, including Between Men: English Literature and Male Homosocial Desire (1985), Epistemology of the Closet (1990), and Tendencies (1993). Her critical writings helped create the field of queer studies. Her works reflect an interest in a range of issues, including queer performativity; experimental critical writing; the works of Marcel Proust; non-Lacanian psychoanalysis; artists' books; Buddhism and pedagogy; the affective theories of Silvan Tomkins and Melanie Klein; and material culture, especially textiles and texture.

In her article, Sedgwick juxtaposed three treatments of female suffering, namely Marianne Dashwood's emotional frenzy when Willoughby abandons her in Sense and Sensibility, a 19th-century French medical account of the "cure" inflicted on a girl who liked to masturbate, and the critic Tony Tanner's "vengeful" treatment of Emma Woodhouse as a woman who had to be taught her place. Sedgwick argued that by the middle of the 18th century, the "sexual identity" of the onanist was well established in British disclosures and that Austen writing at the beginning of the 19th century would have been familiar with it. Sedgwick used Austen's description of Marianne Dashwood, whose "eyes were in constant inquiry", whose "mind was equally abstracted from everything actually before them" as she was "restless and dissatisfied" and unable to sit still. She then compared Sense and Sensibility with the 1881 document "Onanism and Nervous Disorders in Two Little Girls" where the patient X has a "roving eye", "cannot keep still" and is "incapable of anything". In Sedgwick's viewpoint, the description of Patient X, who could not stop masturbating and was in a constant state of hysteria as the doctor tried to keep her from masturbating by such methods like having her hands tied together, closely matched Austen's description of Marianne Dashwood. Sedgwick argued that both patient X and Dashwood were seen as suffering from an excess of sexuality that needed to be brought under control, arguing that though Elinor Dashwood did things considerably more gently than the doctor who repeatedly burned Patient X's clitoris that both were agents of discipline and control.