DIANA BLOK, BLOOD TIES AND OTHER BONDS
Diana Blok describes herself as a studio photographer, always working inside without anything to distract her, within the protection of the studio with its lights and shadows, its enclosing walls, an empty concave in which the subjects stand out…
PIXY LIAO, MEN AS BAGS, 2016
A popular internet phrase came up to my mind when I was making this bag. That is “I’m unhappy, I want bags.” The sentence literally means when a female is trying to get comforts from a man, she asks him to buy her luxury bags…
ELIZABETH WATERMAN, MONEYGAME THAILAND, 2025 - ONGOING
As the epicenter of South Asia’s sex industry, Thailand had appealed to me for years. With my basic Thai and an excellent producer, I finally went there for the first time in 2023..
CARMEN WINANT, THE LAST SAFE ABORTION, 2024
In “The last safe abortion,” artist Carmen Winant considers the labor of women’s health clinics and abortion providers in Minnesota, Iowa, Nebraska, Kentucky, Indiana, Illinois, North Dakota, and Ohio..
SUSAN HILLER, TEN MONTHS 1977-79
Ten Months from 1977–79 is a key work in Hiller’s body of work. It consists of ten blocks, each with image and text presented in the form of a step from left to right, top to bottom…
ALANNA FIELDS, MIRAGES OF DREAMS PAST, 2021-2023
The artist draws upon an eclectic range of vernacular photographs of Black queer people dating from the 1960s to the 1970s. Reframing this found archive using a kaleidoscopic technique, Fields repeats and layers a single image to both reconstruct the way we process images and push beyond the constructs of nostalgia and memory...
NANCY BOROWICK, CHAPTER I: SIDE BY SIDE
The Family Imprint is the story of family, my family, looking at the experiences of two parents who were in parallel treatment for stage-four cancer, side by side…
DEEPTI ASTHANA, A TALE OF TWO GIRLS
As soon as those first drops of blood trickled between my thighs, my world changed. I was a girl with short hair, one who loved playing with her brothers, but now I was being told, repeatedly, to ‘behave like a woman’…
MARI KATAYAMA, BYSTANDER, 2016
The experience of visiting Naoshima frequently for “bystander” had a strong influence on this. On Naoshima, there is a Bunraku puppet theatre company made up of only women called Onna-bunraku…
SHEREE HOVSEPIAN, SELECT WORKS
Foregrounding the materiality of photography in a digital age, Sheree Hovsepian works with film-based cameras, light-sensitive paper, various objects, and her own body to produce cerebral and sensual photographs in which she deconstructs her medium...
KARLA HIRALDO VOLEAU, ANOTHER LOVE STORY, 2022-2023
This tragic love story presents in a chronological narrative the 13 months of this second relationship with X. Next to hundreds of candid and spontaneous phone images, is the transcript of the phone conversation that changed my life: the call during which I discovered X's double life…
SOPHIA POPPY ERICKSON, GLITCH IN THE SYSTEM
To be trans is to be a glitch—an interruption in the binary, a rupture in the system. But in the fracture, there is also liberation. Glitch in the System explores the beauty that emerges when trans bodies are freed from surveillance, when privacy becomes a sanctuary, and when self-encryption allows for true autonomy…
DEBORAH BRIGHT, DREAM GIRLS, 1989-90
I came out as a lesbian in 1985 in the midst of the AIDS catastrophe. It felt urgent to stand up and be counted when conservatives, including President Reagan, were using AIDS as a weapon against queer lives...
ELLIE ENGLISH, DOES MONDAY WORK?, 2022
Born and raised in South East London, Ellie documents family dynamics, sadomasochism, the everyday, and her life as a sex worker through diaristic photography. Her practice engages with intimacy, sexuality, and relationships using Fujifilm Instax…
ALMA LOPEZ, OUR LADY, 1999
Our Lady, the piece which some members of the Santa Fe Catholic community found offensive, is a digital photograph representing the Virgin of Guadalupe…
SHIGEKO KUBOTA, VAGINA PAINTING, 1965
Kubota’s most infamous (and somewhat anomalous) work was Vagina Painting (1965), which she presented as part of the Perpetual Fluxfest, at Cinematheque in New York on July 4, 1965…
COURTNEY COLES, MOMMA
The very foundation of my practice is rooted in my fascination with the multiple ways I consider people, places, and memories “home” and my desire to preserve it. I am enthralled by making photographs that are soft and sincere because the world has been anything but to Black queer women like me...
FARAH AL QASIMI, MORE GOOD NEWS, 2017
Al Qasimi examines the use of photography for the purposes of shaping perception and delineating identity, with a focus on men in her respective communities in the United Arab Emirates and the United States…
![WIDLINE CADET, SEREMONI DISPARISYON (RITUAL [DIS]APPEARANCE), 2017-ONGOING](https://images.squarespace-cdn.com/content/v1/658c59334bdfe52833434021/1747696144397-2ADSTC0P24NKKVHYCM9Q/image-asset+%289%29.jpeg)
WIDLINE CADET, SEREMONI DISPARISYON (RITUAL [DIS]APPEARANCE), 2017-ONGOING
In Seremoni Disparisyon (Ritual [Dis]Appearance) (2017–ongoing), she turns the camera on herself, exploring notions of visibility and Black feminine interiority. Throughout both series, Cadet unpicks ideas of belonging, multiplicity and the fragility of memory…
GUADALUPE ROSALES, EL ROCÍO SOBRE LAS MADRUGADAS SIN FIN, 2020
This project is dedicated to the marginalized. It's about unlearning. Learning differently about this other reality of Mexican-American culture in East Los Angeles, California, primarily during the 1990s. Guadalupe Rosales' world was a world among many worlds. Her archival projects Veteranas & Rucas and Map Pointz contain modes of self-representation and visibility: the dichotomy between the good and the bad/ugly…