Xavier Schipani (He/him) Jacolby Satterwhite (He/him) The Chapel of Acceptance 2019 How Lovly Is Me Being As I Am 2014 Installation Neon Courtesy of the artist Courtesy of the artist and Morán Morán, Los Angeles

• Xavier Schipani’s restroom installation transforms a utilitarian space into a • The phrase “How lovly is me being as place of tranquility, meditation, and I am” first accompanied a self-portrait personal reflection. Referencing his own sketched by Jacolby Satterwhite’s mother. experiences as a transman in public • Replicating his mother’s writing in neon, restrooms, Schipani hopes that all visitors Satterwhite connects her words to his to feel welcomed and affirmed here. own experiences as a queer man and • The artist has employed the room’s offers self-affirmation to all. central text, “I see you always in all ways.” The eye above emphasizes the value of seeing and being seen.

“I invite those “I owned my who enter the past and I space to quietly owned my reflect on the mythology. You power of their can’t apologize own identity for your past, and all that they because you are have to offer.” your past.”

— Xavier — Jacolby Schipani Satterwhite Beyond 15 Minutes: Andy Warhol And His Legacy Andy Warhol (He/him) Richard Duardo (He/him) Ladies and Gentlemen 1975 Blue Warhol 2012 Screenprints Collection of the Jordan Schnitzer Family Blonde Warhol 2013 Foundation Screenprint with hand-coloring Collection of the McNay Art Museum, Gift of Harriett • In 1975, Interview magazine editor Bob and Ricardo Romo Colacello approached a group of New York drag queens and asked them if • Richard Duardo, known as “The West they would model for “a friend” for $50. Coast Warhol,” took inspiration from a That friend turned out to be Warhol, who series of Polaroid photographs Warhol photographed the performers in the same took of himself in drag in the early 1980s. manner as his iconic, celebrity muses. • Warhol never adapted the Polaroids of • Warhol had a longstanding interest in himself in drag into screenprints. Here, artifice, role-playing, and the construction Duardo has done so on Warhol’s behalf. of identity.

“I know that “It’s all about people who whatever you think they’re appropriate and working the change, the hardest are the context and the men who are presentation, it trying to be a reanimates itself woman. They as an entirely do double-time. new thing, They do all the an object or a things.” statement.”

— Andy Warhol — Richard Duardo Deborah Kass (She/her) Lynn Hershman Leeson (She/her) Single Red Yentl (My Elvis) 1993 Bowie/Hepburn 1987 Silkscreen and acrylic on canvas Hand-painted gelatin silver print Courtesy of the artist Courtesy of the artist and Anglim Gilbert Gallery, San Francisco

• Inspired by Andy Warhol’s Elvis paintings, Deborah Kass substituted Elvis with the • Lynn Hershman Leeson fused publicity image of Barbara Streisand playing a photographs of male and female young male Talmudic scholar from the celebrities by printing layered negatives 1983 movie Yentl. and applying paint to the surface.

• Kass saw herself in Streisand, embodying • This hand-painted print merges Judaism publicly and challenging popular photographs of the English singer- pictures of idealized beauty. songwriter David Bowie with the American actress Katharine Hepburn.

“Appropriation “Gender equality was the and freedom are language of key elements my generation in a liberated in many ways. society, and I It came out always knew it of Duchamp, was necessary to Warhol, Johns, fight for these.” Lichtenstein.” — Lynn — Deborah Kass Hershman Leeson The Performance of Dress Yasumasa Morimura (He/him) Yasumasa Morimura (He/him) Dedicated to La Duquesa de Alba/Black Alba 2004 Daughter of Art History (Princess A) 1990 Chromogenic print mounted on canvas Ilfochrome print mounted on acrylic Collection of the McNay Art Museum, Museum Courtesy of the artist and Luhring Augustine, purchase with funds from the McNay New York Contemporary Collectors Forum • Primarily depicting himself as female • Through his use of costumes, makeup, characters, Yasumasa Morimura challenges and digital manipulation, Yasumasa the authority of identity and overturns the Morimura transforms himself into traditional scope of self-portraiture. subjects from the Western art historical canon. • This photograph is based on Diego Velázquez’s painting Las Meninas. In • This photograph is based on Francisco de the iconic painting, Velázquez depicts Goya’s painting of María Cayetana de Silva, the young Infanta Margaret Theresa the 13th Duchess of Alba. surrounded by an entourage of attendants. Morimura, however, depicts her alone.

“I was trying “I’m to leap across re-scripting binaries of and categorization re-embodying —masculine history through and feminine, my cast of East and West— characters.” as well as ideas such as the — Yasumasa feminization of Morimura the East.”

— Yasumasa Morimura Peter Hujar (He/him) Robert Mapplethorpe (He/him) Ethyl Eichelberger as Medea 1979 Self Portrait 1982 Gelatin silver print Gelatin silver print Courtesy of the Peter Hujar Archive and Gift of The Robert Mapplethorpe Foundation to PACE/MACGILL GALLERY, New York the J. Paul Getty Trust and the Los Angeles County Museum of Art

• Ethyl Eichelberger, a drag performer, was • In these two images, Robert one of Peter Hujar’s favored muses. Mapplethorpe contrasts conventional outward signs for man and woman. • Eichelberger wrote, produced, staged, and starred in a series of thirty-two plays based • Mapplethorpe questions established on the lives of great women of history, notions of “male” and “female,” revealing literature, and myth. Here, Eichelberger the terms as socially constructed. wears the costume of Medea from the ancient Greek tragedy.

“I photograph “The whole point those who push of being an artist themselves to is to learn about any extreme. yourself. The That’s what photographs, I interests me, think, are less and people who important than cling to the the life that one freedom to be is leading.” themselves.” — Robert — Peter Hujar Mapplethorpe JJ Levine (He/him, They/them) Martine Gutierrez (She/her) Switch 3 2009 Body En Thrall, p112 from Indigenous Woman 2018 C-print Switch 1 2009 Courtesy of the artist and RYAN LEE Gallery, C-prints New York Courtesy of the artist

• JJ Levine presents two pairs of classic • These photographs are large-scale prints studio portraits of what appear to be from Martine Gutierrez’s self-published cisgender couples. magazine, Indigenous Woman.

• Upon closer inspection, however, each • In the magazine, Gutierrez presents a pair of couples is comprised of two series of self-portraits, articles, interviews, models, not four. Every model is portrayed and advertisements that celebrate her as a man in one image and a woman in Mayan Indian heritage and her ever- the adjacent one. evolving self-image.

“I want to “By digging my make visually pretty, painted convincing and nails deeply into complex images the dirt of my that playfully own image, I am encourage also probing the the viewer to depths for some question their understanding own assumptions of identity regarding bodies as a social and attraction.” construction.”

— JJ Levine — Martine Gutierrez Ernesto Pujol (He/him) Lesley Dill (She/her) Shrouded Novice 1999 Poem Dress for a Hermaphrodite 1995 Photograph Vellum, ribbon, Emily Dickinson’s Poem #125 Courtesy of the artist “For Each Ecstatic Instant” Courtesy of the artist and Nohra Haime Gallery, New York

• Ernesto Pujol explores issues of memory, • This vellum dress was designed for politics, spirituality, and gender, often Sur Rodney Sur—a writer, artist, and using the human body as his subject. AIDS activist—who wore it in an art and • Pujol’s experience as a Catholic monk fashion show at Dieu Donné Papermill, a often informs his imagery. These collaborative contemporary art space in photographs explore the skin of biblical New York. faith on the body, shrouding and • The poetry of Emily Dickinson is a transforming it into a genderless state. constant source of inspiration for Lesley Dill.

“My strength “Over the years is my I’ve made dress vulnerability. forms in various It is the key materials—paper, with which I fabric, metal. I open and close don’t think of space. It is my the dress image map through as sentimental space.” or pretty. It is a shape.” — Ernesto Pujol — Lesley Dill Jose Villalobos (He/him) Mari Hernandez (She/her) Almas Frágiles/Fragile Soles 2019 Los Hermanos 2019 Performance video Inkjet prints on photo rag Courtesy of the artist Courtesy of the artist

• Jose Villalobos was born in El Paso, • As the principal subject of her own along the U.S.-Mexico border. He was— photographs, Mari Hernandez uses make- and remains—largely influenced by up, prosthetics, wigs, costumes, and the merging of Mexican and American props to alter her identity and physical culture. appearance. She also draws on elements • Using a combination of hand-crafted and of performance to highlight the artificial found objects, Villalobos’s performance staging of identity and gender. explores self-identity, gender norms • Hernandez’s upbringing in San Antonio particular in Mexican culture, and the informs her approach the canon of history effects of an overbearing patriarchal and art history. society.

“I protest the “In addition to toxicity of referencing the machismo fluidity of identity through the use in my work, I also of objects that reference the carry a history, fluidity of gender. specifically within I am interested in the Norteño challenging the culture, by roles that gender deconstructing dictates in our and altering society.” them.” — Mari — Jose Villalobos Hernandez Lissa Rivera (She/her) Nelson Morales (He/him) Selections from Beautiful Boy 2014-2018 Selections from Fantastic Woman, Fluid Gender, Digital photographs Muxes, and Transamazonicas 2010-2018 Courtesy of the artist Digital photographs Courtesy of the artist • Beautiful Boy is an ongoing series of photographs that feature BJ Lillis, • In Oaxaca, Muxes (pronounced MOO- Lissa Rivera’s muse and partner. The shays) are regarded as a third gender, series began after Lillis revealed that he considered neither male nor female. sometimes prefers to present himself in a • Nelson Morales began photographing feminine way, wearing women’s clothing. Muxes to capture the complexity of their • Rivera finds inspiration in cinema and lives as well as to help discover his own fashion magazines to explore depictions identity and sense of belonging as a Muxe. of femininity. She believes that feminine • Throughout his body of work, Morales expression should be normalized and explores gender identity and sexuality. accessible to all genders.

“Words like “In the cities in ‘beautiful’ and Mexico, I would ‘pretty’ are often be regarded as not used to homosexual, but describe men. in the Isthmus of Most of the time Oaxaca, where they’re connected I am originally with women from, I am a and femininity. Muxe.” However, I think anyone can be — Nelson beautiful.” Morales

— Lissa Rivera Home And Community Zackary Drucker (She/her) Beth van Hoesen (She/her) Rhys Ernst (He/him) Checked Suit 1968-1970 Selections from Relationship 2008-2013 Etching and drypoint with roulette and aquatint, C-prints handcolored with watercolor and gouache Courtesy of the artists and Luis De Jesus, Los Collection of the McNay Art Museum, Gift of the E. Angeles Mark Adams and Beth van Hoesen Adams Trust in honor of Lyle W. Williams • Relationship is an intimate documentation of two lovers • Beth van Hoesen and her husband— who underwent their transitions fellow artist and photographer Mark simultaneously and remained together Adams, shown here—met while enrolled throughout. at the California School of Fine Arts; they • While the subject of a couple transitioning married in 1953. to opposite genders could have been • From 1956 onward, van Hoesen worked sensationalized, Relationship depicts the exclusively in printmaking. She frequently day-to-day private moments between two depicts her husband in her prints. people in a relationship like any other.

“I suppose it’s “As you grow about a sense older, it dawns of vulnerability, on you that you the way we are yourself— would never be that your job seen in public. is not to force It’s a private, yourself into a privileged view style but to do that only each what you want” of us has with each other.” — Beth van Hoesen — Rhys Ernst Catherine Opie (She/her) Nan Goldin (She/her) Melissa and Lake, Durham, North Carolina 1998 Marlene modeling in the Beauty Parade, Boston C-print 1972 Courtesy of the artist; Lehmann Maupin, New York, Archival pigment print Hong Kong, and Seoul; and Regen Projects, Los Courtesy of the artist and Marian Goodman Gallery, Angeles New York

• In 1998, Catherine Opie traveled across • Nan Goldin emerged as an artist in the the United States in her motor home to 1970s in Boston, photographing her photograph lesbian couples and families friends at the drag bar The Other Side. in private interiors. • Her photographs from this period • The resulting series, titled Domestic, document the lives of those closest to speaks to Opie’s identification with her Goldin and establish an exploration of subjects as well as to the overwhelming gender identity on film. absence of such images in mainstream representations.

“The discourse “My desire is to with family preserve the is usually sense of people’s heterosexual, lives, to endow and I wanted to them with the create another strength and context to begin beauty I see in to think about them. I want the family...” people in my pictures to stare — Catherine back.” Opie — Nan Goldin Zoe Leonard (She/her) Mark Seliger (He/him) Iolo Carew Wearing my Slip 1981 Adrian Torres and Carmen Carrera 2015 Gelatin silver print Gelatin silver print Collection of the McNay Art Museum, Gift of John M. Courtesy of Seliger Studio, Inc., New York Parker

• Historically, artworks were often the result • These photographs are part of Mark of a male artist gazing at a female subject. Seliger’s Christopher Street series. Home Here, Zoe Leonard and her camera to the Stonewall Inn, Christopher Street is challenge tradition and direct the gaze at heralded as the birthplace of the modern a male subject dressed in female attire. LGBTQ+ rights movement.

• In this photograph, Leonard’s friend Iolo • Seliger’s portraits of transgender people Carew is depicted wearing a woman’s slip. on Christopher Street embrace notions of The scene poses a number of questions home, community, and ownership. about male and female power dynamics that surface when one is looked at and photographed.

“I wasn’t really “The portraits thinking about are really done the politics in from the street. my work and the One of the queer political alluring aspects potential..., I for me was think some of it just go on the was there just street and meet because it was people and take part of my gaze.” their picture.”

— Zoe Leonard — Mark Seliger Lezley Saar (She/her) Graciela Iturbide (She/her) A Night at the Uranian 2015 Magnolia (2), Juchitán, Oaxaca, México Acrylic on fabric on panel Gelatin silver print Courtesy of the artist and Walter Maciel Gallery, Courtesy of the artist and Ruiz-Healy Art, San Antonio Los Angeles

• Graciela Iturbide lived and worked in the • Lezley Saar’s work reflects both her small town of Juchitán in Oaxaca for ten biracial identity and her experience as years while working on this photographic mother to a transman. series.

• Stylistically, Saar’s paintings reference • In the matriarchal town, the Muxe Surrealism and Casta paintings, which (pronounced MOO-shay), represent a third illustrated racial mixing in Latin America gender, neither male nor female, and are during Spanish Colonial rule. widely accepted and respected.

“My own “Wherever we experiences of go we want to not fitting in find the theme being black, but we carry inside looking white, led ourselves.” me to question what is truth.” — Graciela Iturbide — Lezley Saar Amos Mac (He/him) Original Plumbing Issues #1-4, 6-16, and 18-20 2009-2019 Periodicals

Translady Fanzine 2011 Fine Art Periodical • Original Plumbing, also known as OP, focuses on the lifestyle of transmen. As founding editor and creative director, Amos Mac has personally photographed the majority of the magazine’s content.

• OP is the first magazine for transmen made by transmen, aiming to represent true diversity in the trans community— in terms of size, age, surgery, hormone use, and non-use.

“I’m documenting a culture and a group of men who have not been visible for very long. I’m trying to change that.”

— Amos Mac The Authentic Body Luis Arturo Aguirre (He/him) James Gobel (He/him) Phoebe Robert 2007 Digital print Felt, yarn, and acrylic on canvas Courtesy of the artist Collection of the McNay Art Museum, Museum purchase with funds from the McNay Contemporary Collectors Forum

• These photographs show a range of • Using highly tactile materials, James individuals of varying age and ability Gobel’s portrait evokes traditionally addressing the complexities of identity. feminine pursuits such as quilting; yet, the imagery would most readily be called • This photograph is part of a series titled masculine. Desvestidas, or “Undressed.” The title is a play on words since the word “Vestidas” • In his artwork, Gobel celebrates the is slang in Mexico for men who dress as heavyset male figure. His subjects are women. inspired by portraits of art history, gay culture, and the people he knows.

“This project “By replacing stems from my paint with felt, amazement at the image drag queens. became softer, The ability to humorous, and become such able to solicit incredibly empathy.” beautiful ‘women’ — James Gobel amazes me.”

— Luis Arturo Aguirre Frank Benson (He/him) Jon O’Neal (He/him) Juliana 2014-2015 Venus Butterfly 2019 Painted Accura Xtreme Plastic rapid prototype Digital print on fabric Rubell Family Collection, Miami Courtesy of the artist

• This hyper-realistic, 3D printed sculpture • Jon O’Neal is a physician. He was trained was made in the likeness of Juliana to be analytic observer of the human Huxtable—a New York-based writer, body. In this photograph, O’Neal captures performer, DJ, and artist. a physiological moment in Venus’s • Frank Benson’s sculpture is a response to transition from male to female. the Louvre’s classical Grecian sculpture • Venus Butterfly is about metamorphosis. Sleeping Hermaphroditus. Printed on a silk-like fabric that mimics the protein fiber made by larvae for cocoons, O’Neal compares Venus’s Unknown personal transformation to that of a Sleeping Hermaphroditus 2nd century CE butterfly. Louvre Museum, Paris, France

“I want the “The final image sculpture to exist was created so as a completely the viewer can finished entity not only look inside the through the computer. The clothes to see 3D model is its ultimate version the torso, but and the print is can also look the real-world through and see manifestation of beyond the silky it.” fabric.”

— Frank Benson — Jon O’Neal Andrés Juarez (He/him) Axel from Transmasculine 2018 Digital print Courtesy of the artist

• Andrés Juarez’s series Transmasculine features the everyday lives—indoors and out— of transmen in Mexico.

• In Axel, Juarez blends elements of femininity and masculinity in an odalisque-like portrait. The photograph conveys the uniqueness and complexities of individual identity.

“That's what you work for, for your work to be seen. And that your work gets to be seen outside of Mexico is important for us, and always gives you courage to keep moving forward.”

— Andrés Juarez It's My Life: Conversations With Myself Nicki Lucio (She/her) Nahum B. Zenil (He/him) Hello World 2019 Retrato de boda 1992 In-gallery, live-stream performance Lithograph Courtesy of the artist Courtesy of the artist and José Gerardo Vilchis Durán

• Lucio’s self-portraits are an intimate exploration of the artist’s own identity, • Art critics have often noted similarities navigating self-esteem issues and, at between the self-portraits of Nahum B. times, self-loathing. Zenil and Frida Kahlo. • Throughout the run of the exhibition, • In his body of work, Zenil employs his self- Nicki Lucio will paint self-portraits in image to confront the dilemma of how the gallery and live-stream her process to define his position as a gay man in on the website Twitch. The live-stream contemporary Mexican society. performance can be accessed at: www.transamerican.mcnayart.org

“It makes me “I have always feel incredibly felt the need for self-analysis in honored, very my work in order lucky, fortunate, to accept myself and very and the way I live. validated that I have always felt someone is marginalized in listening, I’m not my life and have just shouting experienced a into the ether.” great sense of solitude.” — Nicki Lucio — Nahum B. Zenil Antonia Padilla (She/her) Greer Lankton (She/her) Becoming Antonia 1985-2015 Trolls 1983 Polaroids Clay, synthetic hair, and acrylic Courtesy of the artist Collection of Francine Hunter McGivern: The Frank Institute @ CR10

• Taken over a 30-year-period, this series • Greer Lankton represented her fraught documents Antonia Padilla’s transition relationship with her body through sculpted as a transwoman, revealing intimate and hand-sewn dolls. moments as the artist poses for the • At 21, she transitioned from male to female; camera at home in San Antonio. however, despite gender affirmation surgery, • Here, the promise of privacy and instant she continued to struggle with eating disorders and body dysmorphia. gratification afforded by the Polaroid camera provides an outlet for Padilla’s • As a child, Lankton was only allowed to have personal exploration of gender, identity, a troll doll. (It inspired this pair.) She would and appearance. write notes to herself from the troll doll—a stand in for the real friendships she lacked.

“The work I “The most have here on tasteful doll I’ve the wall was made is a real my means of pretty one, but I discovering don’t like him too much because myself and the pretty ones validating aren’t very myself.” interesting. It’s like with people. — Antonia The prettiest Padilla people are the blandest.”

— Greer Lankton Roey Victoria Heiftez (She/her) Anel I. Flores (She/her) Anxiety, my love! 2018 Pintada de Rojo 2019 Graphite, charcoal, and ink on paper Broadside print on paper Courtesy of the artist and Israeli Art in Los Angeles Courtesy of the artist

• Roey Victoria Heiftez’s larger-than-life • Pintada de Rojo is a pictorial memoir of drawings are obsessively detailed and Anel I. Flores’s childhood. It is informed by passionate portraits. Through her artwork, the complexities of gender and identity in Heiftez contends with her fears and a devoutly Catholic household. anxieties in pursuit of self-discovery and acceptance. • Through her drawings and first-person narrative, Flores uses humor and • The woman’s face in this portrait is lined trauma to discuss how she learned to with wrinkles and pocked with age marks. define herself in spite of feeling that her In drawing portraits of older women, existence defied convention and social Heiftez is able to confront her own expectations. feelings about aging as a transwoman.

“I’m stressed “The events by the fact that illustrate how I’m undergoing those influences an accelerated affected me and maturation my seemingly process. I easy coming actually never out process to had my youth as the world, but a girl. I started dramatically my femininity at slow coming the age of 38.” out process to myself.” — Roey Victoria Heiftez — Anel I. Flores Agents of Change Keith Haring (He/him) Hunter Reynolds (He/him) Ignorance=Fear/Silence=Death 1989 Survival AIDS ACT UP Chicago – A Revolution 2015 Lithograph C-prints and thread Collection of the McNay Art Museum, Gift of M. Mary Courtesy of the artist and P.P.O.W., New York Flanagan and Michael J. Lichtenstein

• This newspaper-based artwork positions • Keith Haring was a New York street artist Hunter Reynolds in the role of self- and activist in the 1980s who used his historian. Combining collage, photography, artwork to address social issues. and elements from past performances, Reynolds addresses issues of gender, • Diagnosed with HIV in 1987—a time when identity, survival, hope, and healing. the disease was still a source of fear, apprehension, and stigmatization—Haring • Reynolds was diagnosed with HIV in 1984. was candid about his status. Haring He is a long-term survivor, a member of created artwork specifically for National the New York-based AIDS advocacy group Coming Out Day, World AIDS Day, and ACT UP, and co-founder of the group Art ACT UP. Positive.

“My contribution “It was around to the world is the time I my ability to tested positive draw. I will draw in 1989 that I as much as I began clipping can for as many newspapers... people as I can when I returned for as long as I to New York, I can.” knew it was all about tracking — Keith Haring my history.”

— Hunter Reynolds Chuck Ramirez (He/him) Cassils (They/them) Long Term Survivor Series: Chaps 1999 Becoming an Image Performance Still #1-4 2013 Pigment inkjet prints National Theater Studio, SPILL Festival, London Courtesy of Ruiz-Healy Art, San Antonio C-prints Courtesy of the artist and Ronald Feldman Gallery, New York

• Influenced by his experiences as an HIV- • Cassils often pushes their body to its positive man, Chuck Ramirez transformed limit through physically demanding the language of advertising into a call for performances that require intensive action, compassion, and expression. training.

• Part of Ramirez’s Long-Term Survivor • In Becoming an Image, Cassils delivers series, these photographs show a black a series of blows to a 2,000-pound block leather chap, doubled and reversed. Here, of clay—representing frequent acts of the function of chaps—to conceal and violence enacted against trans and queer protect—takes on a symbolic meaning. bodies.

“I started “Our bodies to live after are sculptures I found formed by out that society’s I was HIV expectations. positive.” I am a visual artist, and my — Chuck body is my Ramirez medium.”

— Cassils Cassils (They/them) Sarah Hill (They/them) Monument Push 2017 Doc in a Box 2015 Performance Document (Omaha, Nebraska) Video; Runtime, 12 minutes Video; Runtime, 8:48 minutes Courtesy of the artist Courtesy of the artist and Ronald Feldman Gallery, New York

• The sculpture in this video is cast from the remnants of Cassils’s performance • Sarah Hill uses humor and puppetry to Becoming an Image, and acts as a recreate traumatic real-life experiences in monument to the resilience of queer an attempt to reclaim psychological space as a trans individual. communities. • Doc in a Box recounts a visit to the doctor’s • In the video, members of Omaha, office while Step This Way explores the Nebraska’s LGBTQ+ community united to difficulties faced by trans individuals push the 2,000-pound monument to local navigating through TSA at the airport. sites of trauma, resilience, and survival.

“I wanted to “To those of you draw attention who are artists to the fact that or want to be our genderqueer artists, my best and trans advice is to let brothers and your art save sisters are so you. When you much more likely are feeling down to experience or like you do physical not know where violence.” to turn, turn to your work.” — Cassils — Sarah Hill David Antonio Cruz (He/him) Michael Martinez (They/them) inmysleeplesssolitudetonight, portrait of the florida Pride Is Not Enough 2019 girls 2019 Bricks, metal, and mirrors Oil and enamel on wood Courtesy of the artist Courtesy of the artist

• This painting memorializes five black • Pride Is Not Enough features 72 bricks, transwomen who were brutally murdered accounting for the 49 victims of the Pulse in Florida in 2018. The artist addresses nightclub massacre and the 23 victims of issues of racial inequality, economic anti-transgender violence in America in disparity, and homophobia. 2018.

• Through his paintings, David Antonio Cruz • Honoring the original architects of the draws attention to the systemic violence LGBTQ+ rights movement, the 72 bricks against the trans community while celebrate the endurance of transwomen reviving the individuality, beauty, and of color, beginning with transgender humanity of each victim. pioneer and activist Marsha P. Johnson.

“In my work “The first Pride I’ve played was a riot and with gender the embers and sexuality continue to rise throughout the 50 years later, years. Constantly seeking peace questioning how among the we identify a stars above.” queer body.” — Michael — David Martinez Antonio Cruz David Zamora Casas (He/him) Claudia Zapata (She/her) El Arcoíris 2019 Excuse Me Sir? 2019 Found objects Fine art zine Courtesy of the artist Courtesy of the artist

• David Zamora Casas is an installation • Claudia Zapata is co-founder of the and performance artist, painter, and Latinx art group Puro ChingÓn Collective. community activist. El Arcoíris or “The Her informational zine Excuse Me Sir? Rainbow” is inspired by the Day of the addresses queer history and gender Dead cultural tradition in Mexico. identity.

• The altar features portraits of individuals • Zines are small-circulation, self-published from across the gender spectrum as well books that combine text and art. They as writers, activists, and cancer survivors. have served as a significant medium of These portraits create a visual narrative, communication in various subcultures, affirming individual and collective and frequently draw inspiration from a identity. “do-it-yourself” philosophy.

“I live my life as a performance. That allows me to be free, to do those things that are denied to me.”

— David Zamora Casas The Pursuit of Happiness: Celebration and Reflection Carlos Betancourt (He/him) Athi-Patra Ruga (He/him) Totem for Light I, (Carlos) 2009 The Harlequin 2010 Digital print Wool and tapestry thread on tapestry canvas Collection of the McNay Art Museum, Museum Collection of Laura Lee Brown and Steve Wilson, purchase with funds from Barbara and Harvey 21c Museum Hotel, Louisville, Kentucky Goldstein • The concept of utopia has been central to Athi-Patra Ruga’s artistic practice. In • Carlos Betancourt’s artwork explores the his work, the artist constructs a mythical ways people maintain their identity when metaverse populated by characters or they move to a new country and attempt to avatars of his own creation—frequently blend in with their adopted culture. depicting himself in the role of a clown or jester. • Betancourt uses digital photography and computer manipulation techniques to create • Through his art, Ruga hopes to create a opulent images of identity through place in space in which political, cultural, and social rich, jewel-like tones. systems can be critiqued and parodied.

“The overall “I use history to culture of objectively go Puerto Rico to issues that shaped my are still affecting early ideas us today and of blending, I tackle them layering, and by using mixing, as well fantasy, humor, as my profound utopia, and love for nature.” imagination.”

— Carlos — Athi-Patra Betancourt Ruga EVA & ADELE (They/them) Julio Galán (He/him) WINGS I-III 1997/1998 Donde ya no hay sexo 1985 Video; Runtime, 62:14, 62:15, and 62:32 minutes Oil and acrylic on canvas Courtesy of the artists and Nicole Gnesa Galerie, Collection of Diane and Bruce Halle Berlin

• An androgynous self-portrait of the artist • EVA & ADELE always appear together dominates this painting, challenging in public, always dressed the same, and traditional signifiers of male and female always smiling. EVA & ADELE’s shared gender. Another self-portrait, now upside- existence questions preconceived ideas down and of the artist as a young boy, about gender roles. appears at the left.

• The couple claim to have landed in a • Galán frequently includes himself in spaceship from the future during the fall his paintings, addressing his Catholic of the Berlin Wall and refuse to disclose upbringing as well as issues relating to his their real names or origins. identity as an openly gay man.

“We became A two-part a symbol inscription of bringing in Spanish— gender upright and into the inverted—unites future, we the composition are a new with the gender.” following words:

— ADELE “If there is no sex, then see what happens.”

— Julio Galán Jayne County (She/her) niv Acosta (He/him) Mer Creatures 2017 Fannie Sosa (She/her) Acrylic and marker on canvas Oxygenation Swings, 1/7 Black Power Naps 2018 Courtesy of the artist and Michael Fox Tie-dye hammocks and 45-minute ASMR soundscape Courtesy of the artists

• Jayne County was punk rock’s first openly • Reclaiming idleness and play as sources transgender performer. She performed of power and strength, this installation in Wayne County and the Backstreet invites people to slow down and rest. Boys, was featured in Warhol’s videos, and participated in the Stonewall Riots of 1969. • The artist duo encourages individuals to pay attention and have empathy for • A self-taught artist, County categorizes human life—acknowledging that people herself as an outsider. Her ambiguous are affected by structures designed to figures were inspired by ancient Egyptian disable some and enable others. art and mythology. • “Exhaustion is due to all of the structural difficulties that arise from you being seen “I’ve always as a non-viable reality.” — niv Acosta been fascinated with creatures that don’t fit into society, or are mysterious, non-human, half-human. If the creature is unexplainable, it makes it more interesting.”

— Jayne County Saakred (They/them, He/him) Chris Castillo (He/him) Reimaging Aztlan: Lowrider Carhood 1a Brugmansia suaveolens 2019 (La Reina del Valle) 2019 Cyanotype on watercolor paper Vinyl on Oldsmobile Cutlass lowrider hood Courtesy of the artist Courtesy of the artist

• Saakred, also known as Miguel Rodriguez, • In these cyanotype prints, Chris Castillo is a native of San Antonio's Westside. explores the variety and complexity of sex They explore the role of masculinity and expressions in flowering plants. The plants manhood in Latino culture through represented here have regional, cultural, lowrider aesthetics. and medicinal uses.

• Reimagining Aztlan: Lowrider Carhood • Plant types are classified as male, female, 1a (La Reina del Valle) celebrates the or hermaphrodite on the basis of whether beauty and strength of the model as a they possess anthers, ovaries, or both. transwoman of color while commenting Scholars have identified the primitive type on and subverting heterosexual narratives. of floral condition found in these plants as hermaphroditism.

“For me, this work is the crowning of royalty, a declaration of transpeople as royalty, for the battle scars we have endured and the power we embody for still being here.”

— Saakred Kalup Linzy (He/him) Keys To Our Heart 2008 Video; Runtime, 24:06 minutes Courtesy of the artist and David Castillo Gallery, Miami

• Kalup Linzy counts among his influences daytime soap operas, black-and- white Hollywood movies, the Harlem Renaissance, Def Comedy Jam, and the TV sitcoms of his childhood.

• The characters in this video— all dubbed by Linzy— are presented in an exaggerated, comic style. Linzy draws from stereotypes to humorously explore sexuality, gender, and cultural identity.

“There are many layers to a man putting on a dress. We’re all drag queens and drag kings, anybody who’s performing to create an identity.”

— Kalup Linzy