Discover the art of photography in context

• Michelle Sank (1953)

Environmental portraits made in bedrooms, tracing how personal spaces register the pressures of appearance, self-image, and bodily change in contemporary Britain.

• Nan Goldin (1953)

A visual diary of intimacy, and sexual dependency, documented through flash photography.

• Maika Elan (1986)

Same-sex love in everyday Vietnamese life, documented through color photographs of couples at home.

• Chan–Hyo Bae (1975)

Staged self-portraiture in Western costume reveals patterns of exclusion in cultural narratives and questions of race and gender.

• Robert Mapplethorpe (1946-1989)

Homosexual sadomasochistic imagery, presented as a 13-print black-and-white gelatin-silver portfolio with predominantly staged scenes.

• Shen Wei (1977)

Self-portraiture with nudity as both a challenge to cultural norms and a meditation on individual freedom.

• Momo Okabe (1981)

Intimate self-documentation of asexual pregnancy via IVF, challenging traditional reproductive roles and conveyed through a highly saturated, non-naturalistic color palette.

• Libuše Jarcovjáková (1952)

Queer sociability at Prague’s T-Club under state socialism, documented through black-and-white flash photography.

• Christer Strömholm (1918-2002)

Transgender lives in post-war Paris documented through intimate bonds and humanistic visual engagement.

• Lin Zhipeng / No.223 (1979)

Intimate exploration of youth identity, sexuality, and personal freedom captured through spontaneous flash photography.

• Chuck Samuels (1956)

Male reenactments of classic female nudes in photography question expectations about gender, beauty, and art history.

• Ajamu X (1963)

Black queer male sexuality in late-twentieth-century Britain, documented through staged black-and-white photographs of nudes, fetish props, and fragmentary close-ups of the body.

• Roberto Tondopó (1978)

Ritual and dress in the Fiesta Grande of Chiapa de Corzo explore connections between local tradition, cultural resistance, and gender identity.

• John Paul Evans (1965)

Love between two men through staged domestic images as reflection on family, belonging, and age.

• Philip-Lorca diCorcia (1951)

Male hustlers around Santa Monica Boulevard in Hollywood, photographed in staged encounters with sitters compensated at their street rates.

• Mariette Pathy Allen (1940)

Crossdressers with their families, friends, and communities, photographed through collaborative portraiture in everyday social settings across the United States.