Pepe Espaliú: The Sick Body That Forced Spain to Look at AIDS
Before AIDS entered Spain’s public memory, Pepe Espaliú turned his own body into a demand for care. If you’re new
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Espaliu Pepe Carrying 1992 Madrid 
lgbtq+
LGBTQ+ Art
This category is a curated hub of essays and case studies on LGBTQ+ art as a system of visibility: who gets to appear, who pays the price of appearing, and how images carry memory across time.
Start here: key entries
- LGBTQ+ Art: From Classical to Contemporary
- Art, AIDS and Queer Love: Scores for the Absent
- David Wojnarowicz: The Artist Who Made Rage Beautiful
- Keith Haring: Creativity, Activism, and Courage
- Cassils: The Sculptural Violence of the Trans Body
- Zanele Muholi: Reclaiming Identity Through the Lens
- Wu Tsang: Reimagining Identity
- Did Stonewall Erase Sylvia Rivera?
- Inside “Metropolitan Gay Love”: A Deep Dive into Art and Identity
What you’ll find
- Artist-focused essays with close reading and historical context
- Works shaped by AIDS-era memory, mourning, and the politics of archives
- Trans and non-binary embodiment as form, risk, and resistance
- Queer visibility inside institutions: canon-building, omission, tokenism
How to read this hub
- Fast entry: start from “LGBTQ+ Art: From Classical to Contemporary”, then pick one artist case study.
- Memory route: AIDS, loss, and the archive (Wojnarowicz, Nan Goldin, Felix Gonzalez-Torres).
- Body route: performance, transition, violence, and endurance (Cassils and related artists).
- Visibility route: who gets remembered and who gets erased (Sylvia Rivera, public narratives, institutions).
If you are new, begin with the overview and then follow one route as a reading path. This archive is updated as new essays are published.
Espaliu Pepe Carrying 1992 Madrid 
Yayoi Kusama The 15 European Art Exhibitions Worth Travelling for This Autumn
A critical guide to the 15 contemporary art exhibitions worth seeing across Europe in autumn 2026, spanning Venice, Amsterdam, London, Paris, Turin, Madrid, Bilbao and Munich.
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Yagwang, Raw Proof, 2024. Courtesy the artists At Frieze Seoul 2026, Facade Zone turns an authorised act of demolition into a test of whether institutional critique can…
Yagwang dismantles a Frieze Seoul booth for Facade Zone, a commission backed by Bvlgari. The work exposes hidden labour, unstable bodies and the fair’s talent for turning criticism into cultural capital.
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Pepe Espaliú, *Carrying*, Madrid, 1992. In the performance, the Spanish artist was carried through the streets of the city in the arms of others, turning his vulnerable body into an image of care, dependence, and solidarity during the AIDS crisis. Source: "VICE2. When Spain Carried Pepe Espaliú in Its Arms
If you’re new to this wider project, start here: LGBTQ+ Art: From Classical to Contemporary. You can also browse the
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Frida Kahlo photographed by her father, Guillermo Kahlo. Who Owns Frida Kahlo? Mexico’s Fight to Keep Her Art at Home
The Gelman Collection, a disputed export permit and the growing distance between private ownership and cultural memory The Gelman Collection,
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Dildos series - Artist credits Christina Schlesinger: “Freedom Was the Real Revolution”
From Womanhouse to the Guerrilla Girls, Christina Schlesinger reflects on lesbian visibility, public art, feminism, and the lifelong process of becoming herself.
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Cassils, Becoming an Image, 2013. Photo Cassils & Manuel Vason Ethics of Visibility and the Responsibility of Looking. An Interview with Cassils Between Darkness, Fire, and Retinal Archives
Between darkness, fire, and “archives” imprinted on the retina, the Canadian artist rethinks the body as a somatic instrument and
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Pepe Espaliú: The Mask, the Object, the Wound
If you’re new to this wider project, start here: LGBTQ+ Art: From Classical to Contemporary. You can also browse the
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The team of the Swiss Pavilion at the 2026 Biennale. From left to right: Miriam Laura Leonardi, Yul Tomatala, Nina Wakeford, Gianmaria Andreetta, Luca Beeler, Lithic Alliance. Photo: Del LaGrace Volcano. Swiss Pavilion 2026. The Unfinished Business of Living Together
The Politics of an Open Archive At the 2026 Venice Biennale, The Unfinished Business of Living Together brings together Nina
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Catherine Opie (Photo courtesy of the artist) Catherine Opie Interview: Seeing and Being Seen in Photography
From London’s National Portrait Gallery to the politics of visibility, the artist reflects on portraiture, queer bodies, family, and what
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