This summer, Participant Inc., a nonprofit art space in the Lower East Side, showcased an exhibition dedicated to Chloe Dzubilo. As a trans woman who became an AIDS activist, Dzubilo’s life and artwork were highlighted in a poignant and significant show curated by Alex Fleming and Nia Nottage. Through her text-based pieces and drawings, Dzubilo offered an intimate glimpse into her experiences with AIDS, living in subsidized housing, and facing discrimination from healthcare professionals. The exhibition struck a chord, aiming to resonate with anyone who has faced challenges in healthcare, housing, or personal hardships.
This exhibition was part of a select number of New York shows this year focusing on art by or about trans and gender-nonconforming individuals. At a time when the Trump administration has been rolling back basic rights for trans people, it’s heartening to witness art institutions giving a platform to artists like Dzubilo. The art world’s backing of trans and gender-nonconforming artists often receives less attention than its support for other marginalized communities.
Last fall, I attended a private discussion with two nonbinary artists discussing the dismissal of gender identity as a non-issue, even in progressive circles. Their conversation was a reminder of the broader cultural oversight in art and society, and I feel privileged to use my position to help highlight these voices. This year, I was fortunate enough to elevate the work of some trans and nonbinary artists, potentially sparking important discussions through their art.
Among the memorable highlights as an art critic this year were exhibitions that spotlighted these narratives. Besides reviewing Dzubilo’s show, I covered the historically significant exhibition Dueñas de la Noche: Trans Lives and Dreams in 1980s Caracas at the Institute for Studies on Latin American Art. Alexis Clements explored The Met’s Casa Susanna, and Emma Cieslik delved into Spectrum of Desire: Love, Sex, and Gender in the Middle Ages at The Met Cloisters.
My colleague Lisa Yin Zhang provided an insightful review of Nayland Blake’s work at Matthew Marks Gallery, highlighting Blake’s influence on LGBTQ+ artists through visual art and performance. Daniel Larkin covered Vaginal Davis, a pioneering LGBTQ+ artist, whose diverse work was featured in a major survey at MoMA PS1. John Yau illuminated Xingzi Gu’s nonbinary art through a review of their androgynous figure paintings, while Cat Dawson and AX Mina reviewed shows at PPOW Gallery and the Leslie-Lohman Museum, respectively.
One standout event was Tate Modern’s retrospective on Leigh Bowery, covered by Olivia McEwan. Although Bowery identified as a gay man, his performances and handmade costumes from 1980s London challenged gender norms in new and complex ways. Our team also reviewed numerous other compelling exhibitions this year, including Duane Linklater at Dia Chelsea, Chicago’s Red Line Service, and Chile’s 1980s punk scene.
As the year concludes, don’t miss Senior Editor Valentina Di Liscia’s list of artworks that spoke truth to power in 2025. To help support artists who are making a difference, consider becoming a paying Hyperallergic Member. As we look forward to 2026, here’s to a hopeful and united future. Happy New Year.
—Natalie Haddad, reviews editor
