| Good morning. As protests against ICE raids and state attacks on undocumented people continue across Los Angeles, an unsurprising trend has emerged: Small arts institutions are speaking out, and large museums are staying silent. Matt Stromberg spoke with the artists and organizations supporting community-led efforts and demonstrations on the ground. Over in New York, Staff Writer Rhea Nayyar brings us the next installment of Hyperallergic’s Pride series on queer and trans art history around the city — this time with a focus on the Leslie-Lohman Museum of Art. Read her timely piece on the institution, which took root amid the AIDS epidemic and relentless discrimination to become the first LGBTQ+ art museum in the world. More below to nourish you this Thursday, including late artist John Wilson’s social realism and dedication to portraying Blackness, the complicated legacy of DC’s shuttered Indian Craft Shop, and critic Olivia McEwan’s delightfully snarky take on a show of Edvard Munch’s remarkable portraiture, extending far beyond “The Scream.” — Lakshmi Rivera Amin, Associate Editor | | |
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| You’re currently a free subscriber to Hyperallergic. To support our independent arts journalism, please consider joining us as a member. | | Become a Member |
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 | | While small groups issue condemnations of state violence and share helpful resources for communities under attack, the big museums largely remain silent. | Matt Stromberg |
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SPONSORED |  | | | | A vibrant retrospective of the overlooked color painter who helped define the Tenth Street cooperative gallery scene is on view in Falmouth, Maine. Learn more |
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 | | In the face of discrimination, harassment, and the AIDS crisis, the Leslie-Lohman Museum of Art became a beacon for queer creativity. | Rhea Nayyar |
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|  | | As the US Department of the Interior looks to preserve the longstanding market’s operation, many see a need to move beyond history. | Vida Foubister |
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SPONSORED |  | | | | Co-organized by the Massachusetts institution and the Contemporary Arts Museum Houston, this exhibition spans over two decades of Valdez’s work. Learn more |
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 | | A show at London’s National Portrait Gallery reveals the artist’s astonishing technical skills, but the wall texts are laugh-out-loud amusing at best and art historically dangerous at worst. | Olivia McEwan |
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|  | | His social realism style was well suited to the difficult subjects, including racism and other forms of oppression, he took on in his art. | Carl Little |
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HYPERALLERGIC HIGHLIGHT |  | | The essays in Speculative Light explore the many ways in which Beauford Delaney, another queer Black man, revolutionized Baldwin’s cultural perspective and imagination. | Jasmine Weber |
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IN MEMORIAM | | Daniel Lelong (1933–2025)
French gallerist and art dealer | Hyperallergic
Bernadette “Berny” Martinez (1947–2025)
Gay rights advocate and artist | Oklahoman
Günther Uecker (1930–2025)
German abstract sculptor and “nail artist” | AP News
Gerard Wilson (1943–2025)
British sculptor and educator | Guardian
Anya Zholud (1981–2025)
Russian sculptor and painter |Art Focus Now |
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MEMBER COMMENT | | Melanie Cohn on “The American Street Photographer Who Queered the Victorian Era” | | As someone who will always hold a deep love for Staten Island, and Clear Comfort in particular, it’s incredibly heartening to see these materials returned to their original home. Historic Richmond Town played a vital role in preserving Alice’s work. From what I’ve gathered through oral histories, when Alice was evicted, it was members of the community who stepped in. They went to Clear Comfort and took it upon themselves to pack up her work, bringing it to Historic Richmond Town for safekeeping. My heartfelt congratulations to the Alice Austen House and Historic Richmond Town on this powerful, historic moment of bringing Alice’s work home. I know she would be so joyful. |
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| You’re currently a free subscriber to Hyperallergic. To support our independent arts journalism, please consider joining us as a member. | | Become a Member |
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