Elevating LGBTQ+ Artists Throughout the Year
This past summer, Participant Inc., a nonprofit art organization based in New York City’s Lower East Side, brought to light the remarkable life and work of Chloe Dzubilo through an insightful exhibition. Dzubilo was a courageous trans woman whose experience as an AIDS activist was deeply intertwined with her artistic expression. Curated by Alex Fleming and Nia Nottage, the exhibition offered a compelling combination of text-based works and drawings, providing a profoundly personal and historical perspective into the artist’s life.
Chloe Dzubilo’s art illustrated her journey of living with AIDS, capturing not only the physical and emotional struggles but also the societal challenges she faced, including discrimination by healthcare professionals. Her work unveiled the reality of residing in subsidized housing for people with AIDS, illustrating how these experiences were inextricable from her identity and advocacy. The exhibition served as an eye-opener for many visitors, urging a reflection on themes of inadequate healthcare, housing instability, and the stigma still surrounding individuals living with HIV.
In the broader art scene, Dzubilo’s exhibition was among several New York showcases that celebrated or addressed the narratives of trans and gender-nonconforming individuals this year. Amid the political climate where the rights of trans people face erosion, these artistic endeavors have become beacons of encouragement and support. Some art institutions have taken commendable strides by giving a platform to artists like Dzubilo, although such support often lacks the visibility afforded to other marginalized communities.
The year also witnessed critical dialogues in art that reinforced the importance of elevating trans and nonbinary voices. A private discussion between two nonbinary artists enlightened many, including myself, on how gender identity is often trivialized, even within progressive spaces. This revelation has enriched my efforts to highlight trans and nonbinary artists in my editorial and writing roles, aiming to spark meaningful conversations through their art.
Reflecting on other noteworthy exhibitions, the Institute for Studies on Latin American Art showcased “Dueñas de la Noche: Trans Lives and Dreams in 1980s Caracas,” offering an illuminating retrospective of trans experiences. The Met’s “Casa Susanna” and “Spectrum of Desire: Love, Sex, and Gender in the Middle Ages” at The Met Cloisters provided snapshots into historical queer narratives. Writer colleagues have also excelled in covering pivotal shows, like Nayland Blake’s exploration of identity at Matthew Marks Gallery and Vaginal Davis’s influential work at MoMA PS1.
John Yau’s review of nonbinary artist Xingzi Gu’s ethereal paintings and Cat Dawson’s coverage of Hortensia Mi Kafchin’s bold identity statements at PPOW Gallery further underscore the dynamic creativity permeating the contemporary art landscape. Meanwhile, the retrospective of Leigh Bowery at Tate Modern, reviewed by Olivia McEwan, celebrated Bowery’s boundary-pushing art as essential to understanding gender fluidity.
In another line-up of impactful exhibitions, Aruna D’Souza’s analysis of Duane Linklater at Dia Chelsea and Lori Waxman’s insights into Chicago’s Red Line Service reflect the diverse engagements of art with social issues. This year’s exhibitions proved that art remains a potent medium for challenging norms and advocating for a just society. As we transition into 2026, these exceptional art experiences embolden us to foster a future grounded in hope and community solidarity.