CLUB 2561 (2026) is a multimedia installationinspired by radical queer organizing of the 1970s-90s, queer club culture, and my last decade spent moving between organizing and nightlife—is an homage to queer time—resistance, love, fuckery, and everything in between—and a portal into queer lineage, memory, and political transformation. Combining painting, sculpture, light, sound, and performance, CLUB 2561 is my bridge between absence and presence, past and future, where the stage becomes the only place where my life, emotions, and political commitments come together; a site that explores queer lineage, collective memory, and the role of sanctuary spaces in sustaining community, resistance and joy.

The work emerged from two years of archival research into queer organizing, manifestos, oral histories, and club culture, drawing inspiration from movements and organizations such as ACT UP, Queer Nation, the Gay Liberation Front, Street Transvestite Action Revolutionaries (STAR), and the Combahee River Collective. The installation transforms the gallery into an immersive environment activated through participation and collective experience. Gallery lights were turned off, allowing neon, LED, and xenon sculptures to illuminate the space, while a curated playlist assembled from archival research into queer club music connected nightlife to histories of survival, resistance, and world-making.

The title refers to an impossible time on a 24-hour clock. For me, “25:61” represents queer time—a space beyond normative structures where alternative futures can be imagined and rehearsed. Influenced by ACT UP and Gran Fury, the installation incorporated protest aesthetics throughout the exhibition, including the use of Pantone 213C, the same fuchsia used in the iconic SILENCE = DEATH campaign. Activated as a one-night club, CLUB 2561 rejects the neutrality of the white cube and invites participants to encounter queer history not as something distant or static, but as a living lineage carried through music, movement, memory, and collective experience. The project statement can be found here and the curated CLUB 2561 playlist, curated from oral histories about queer clubs in the 70s-90s, which was playing throughout the exhibition, can be found here.

My hope is that this show travels — to clubs, alongside parties, and in alternative community spaces — so queer youth can step inside and feel called to learn about our queer lineages. Pieces were selected to be exhibited and activated at iconic queer DJ Victor Rodriguez’s Pájaro party on April 25 in Los Angeles.