1949

On Nineteen Forty Nine: Fleet Week, On the Town, and Massacre River | Suite of Four Works with Special Appearance by Cattelan’s Frosty Banana |

Digital Photo Collage | 2026

It’s 1949, the war is over and the sailors are home.

These four collages recreate that moment in all its Technicolor confusion.

Rory Calhoun and Guy Madison, both 27, are rumored lovers — never proven, but lifelong companions who hunt, fish, and co-star together in 1949’s Massacre River.

Also in 1949: the newly formed Department of Defense officially bans homosexual personnel across all branches. Gay servicemen who had fought in WWII are quietly purged via blue discharge — no court martial, no veterans’ benefits. Many land in port cities such as San Francisco and New York. They build the early networks — the bars, the meeting places, the underground geography of queer life in America.

The great irony is this: while the government was purging gay men from the military, Hollywood was hiring them. In 1949 sailors were being blue-discharged onto the streets of New York, Leonard Bernstein was scoring On the Town, gay men were directing and producing it, and queer narratives were being quietly sewn into the fabric of American cinema.

The shiny, heterosexual dream machine was built largely by the people it refused to name.

Twenty years of that pressure, that contradiction, that coded survival — and it all came to a head in 1969.

And the Stonewall Inn was an invoice that suddenly and irrevocably became due.

Bananarama Redux

More on Bananas! I had a banana shake Friday from Whataburger, so good!

Bananarama

A Banana is a Banana Until It’s Art | Digital Photocollage | 2026

A banana taped to a wall sold for $6.2 million at Sotheby’s. The buyer plans to eat it.

Maurizio Cattelan’s Comedian debuted at Art Basel Miami in 2019. Crowds were so large the exhibit had to be pulled for public safety. At least two spectators ate the banana on the gallery floor. The work sold. The concept is the work.

Something is always something until it’s something else. When that happens, it can become an issue for someone. Who that someone is has everything to do with power.

The Closet Series has officially met Cattelan’s banana.

— Behan

#TheClosetSeries #MaurizioCattelan #Comedian #ConceptualArt #QueerArt #DigitalPhotocollage #ArtBasel #Sothebys #behanworks #QueerHistory

On the Road Again

Sunday Collage and Essay: Cherry Cherry Limeade |Digital Photo Collage | 2026.

From drive-throughs to drive-ins and snack-fueled road trips, the American love affair with eating in the car is alive and well in 2026.

According to Jonathan Maze, Editor-in-Chief of Restaurant Business, car consumption of food has skyrocketed since the pandemic and shows no signs of slowing down. Americans are increasingly skipping the table altogether — no partners, no coworkers, no small talk — just them, their order, and the open road. Or the parking lot. Whatever works.

The numbers line up. Data tracks the percentage of consumers eating limited-service breakfast in their cars is up eight points since 2019. Lunch—up five. Snacks up four. Even full-service restaurants are getting in on it — in-car snack consumption from sit-down spots is up eleven points. The American car is a second dining room.

No one understood this earlier — or better — than Sonic. America’s original drive-in still does it the classic way: no indoor seating, car hops on roller skates, iconic window trays that turn your car door into a table for two. Or one. Or three—whatever you’re in the mood for. The Sonic Footlong Coney Dog remains one of the great American vehicular meals — messy, unapologetic, and so absolutely worth it. Don’t forget the wet naps!

The Closet Series is placing its order. The blue moon is enjoying its cherry limeade. Jupiter 3 is already in the drive-thru.

#TheClosetSeries #Sonic #EatingInTheCar #AmericanCulture #GayArt

Postscript:

Coding has a long history in all forms of American art— and it was never just a gay thing. When censorship ruled, everyone learned to speak in symbols. Hitchcock’s train disappearing into a tunnel. The camera that pans discreetly to the window. Artists across every medium developed an entire visual vocabulary of suggestion and substitution— because direct expression was forbidden. The Hays Code, the Comics Code, the long arm of moral panic all demanded that human behavior be translated, disguised, displaced—except for violence for some odd reason. That’s as American as apple pie. Coding is a testament to human creativity. It is also an indictment.

Never Will I Leave You

Tim Is Never Without His iPhone 19. Never. | 2026 | Digital Photocollage

The love affair between many Gay men and the IPhone is real. A handheld computer you can make calls with, the iPhone has become an essential tool of modern gay life.

Your personal life is still a target in many parts of the world? How about end-to-end encryption, Face ID, Touch ID? These aren’t luxury features. It’s about being safe.

The full ecosystem of gay life—dating apps, community platforms, health and wellness tools, LGBTQ+ media and entertainment—are just a charge away.

And iMessage plus FaceTime keep chosen families connected across geographic distances in ways that matter especially to a community that has always had to build its own networks from scratch.

Significantly, Apple has been at the forefront of LGBTQ+ inclusion — featuring queer content, supporting Pride initiatives, and creating a digital environment that reflects the diversity of its users.

The Aquarian moon is texting. Jupiter 3 has dropped a mean meme.

The Closet Series. 2026.

#TheClosetSeries #TimIsNeverWithoutHisiPhone #AppleAndGayLife #QueerTech #iPhoneLife #LGBTQTech #QueerCulture #DigitalPhotocollage #QueerArt #TimCook

Also Known As

Porter and Joey Attending to Saint Randy’s Physical and Spiritual Needs | Digital Photocollage | 2026

GoFundMe is a digital fundraising platform that serves as a vital lifeline for LGBTQ+ individuals navigating healthcare systems that were never designed with them in mind.

Jason Pacheco, known to fans as Randy, an adult film star, posted a GoFundMe shortly before his death at age thirty-three. He was in recovery. He was living in a halfway house and was discharged because his hospital stay ran too long. He was broke and didn’t know where he’d go when he left. Identifying as straight, he had built his career in gay adult film.

His story is not unusual. Gay men and men orbiting gay culture have always faced a particular combination of healthcare discrimination, family rejection, and institutional abandonment that makes community-based mutual aid like GoFundMe not just a supplement but a replacement for a system that doesn’t recognize them.

GoFundMe campaigns fund gender-affirming care, bail for queer activists, emergency housing, and the survival costs of lives that the dominant culture views as expendable.

The culture of digital fundraising mirrors the historical LGBTQ+ tradition of chosen family — the network that shows up when the biological family does not. It is the same impulse that built the hospices during AIDS, that had strangers becoming family because what else do you do when the world abandons you.

Randy needed somewhere to go. The community he had served showed up. The harvest gold moon knows what fulfillment looks like — and sometimes it looks like a stranger clicking donate at two in the morning for a man they never met but recognized anyway.

The Closet Series. 2026. — Behan.

The Lifeguard

Do Not Talk to the Lifeguard | Digital Photocollage

Too late.

Gay men have been talking to the lifeguard — and looking at the lifeguard, and thinking about the lifeguard — since the lifeguard first climbed into the chair.

The sun-kissed, heroic lifeguard is a longstanding archetype of gay visual culture. A historical intersection of masculinity and queer admiration. He saves lives for a living. Of course gay men noticed.

But the lifeguard metaphor runs deeper than desire. The Lifeguard Project in Australia trained gay men to become lifeguards for their friends — teaching them the practical tools to support peers struggling with anxiety and depression.

Same instinct.

Different shore.

The lifeguard watches the water. He knows who’s in trouble before they do. Gay men have always appreciated that kind of attention.

The Closet Series.

Friday Finery

Collages from the past week that are surprises, unexpected, and so fine.

Words to Live By

Words to Live By: Millenia Athletics

From leather Roman panties to moisture-wicking fabrics — the name of the game has always been keep moving. Each era had its own sense of fashion and style:

1920s–1930s: Thick. Ribbed. Tops.

1940s–1950s: Nylon. Military. Lightweight.

1960s: Tops. Casual. Bottoms.

1970s: Colorful. Curved. Bold.

1980s: Huge. Sweat. Head.

1990s: Baggy. Oversized. Graphic.

2000s–2010s: Athleisure. Spandex. Seamless.

2020s: Everything. Everywhere. All at once.

The body has always wanted to move. Gay men have always known how to dress for it.

Words to live By.

The Closet Series. 2026.

Subtext Blues

On the Nature of Subtext

Subtext handled well deepens a story. It rewards attention. It creates the charge between characters that audiences feel without always being able to name — and when it finally surfaces, it can be magnificent. Consider Citizen Kane. The entire film is a mystery built around a single word: Rosebud. The subtext blooms at the very end into something that reframes everything that came before. That is subtext becoming context.

The prospect for gay subtext in twentieth century filmmaking was ripe with potential, yet the Hays Code was so onerous and burdensome that the subtext never got to bloom. It was buried so deeply it was rendered inert. Actors Glenn Ford and George Macready built a love story between two men into the center of Gilda without the director knowing. Gore Vidal wrote Messala as a spurned lover in Ben-Hur and directed Stephen Boyd accordingly without telling his co-star Charlton Heston. In American Gigolo, writer and director Paul Schrader built an entire gay sensibility into a film that never once named it. The subtext in all three films could have been thoroughly illuminating. Instead it was buried so deeply that it confused rather than enlightened. A desire without resolution. A charge without release. A love story with no ending.

The Hays Code, written in 1930 and strictly enforced from 1934 to 1968 at the insistence of the Catholic Legion of Decency, represented thirty-four years of institutionalized censorship of American cinema. Of everything the Code suppressed, which was substantial, homosexuality was one of its most absolute prohibitions. Thirty-four years. An entire generation of filmmakers. An entire generation of film goers who never got to see the fullness of life on screen. It wasn’t only gay men and women who were cheated — although they were, profoundly — it was every person who sat in a darkened theater and deserved the whole truth of human experience.

Think about what those films could have been. Gilda with the love story between Johnny and Ballin fully realized. Ben-Hur with Judah and Messala’s history allowed to breathe on screen the way Vidal wrote it. American Gigolo with Julian Kay finally allowed to find real love — on his own terms, with whom he chose. Decades of films diminished not by the presence of gay characters but by the systematic burying of those characters before they could fully live.

The Hays Code, developed and dominated by the American Catholic Church, did not protect audiences. It impoverished them. It took stories that could have been richer, truer, more dramatically complete and handed them back with something essential removed. The artists knew what was missing. The audiences felt the absence without knowing its name. And the gay men and women in those audiences watched themselves almost appear on screen, again and again, and then vanish before they could fully arrive.

The shame is not in a character being gay or a film telling their story. The shame is not allowing a gay character to breathe.

#TheClosetSeries #OnTheNatureOfSubtext #QueerCinema #HaysCode #Gilda #BenHur #AmericanGigolo #QueerHistory #LGBTQHistory #DigitalPhotocollage #QueerArt #FilmHistory #TheClosetKnows

Pride Then and Now

Back to Pride 2025 and looking again to some of my favorite work from then. Thinking about how conservatives are currently trying to remove the only life saving HIV medication from the hands of gay men on “moral” grounds. An immoral act, this like nothing else changes things. Happy Pride.

Biblical Truth

The Bible Is Not Anti-Gay. The Institution Is.

The Closet Series — Behan

The Bible is full of profound same-sex relationships that the institution of the Church has worked very hard to desexualize. The work of desexualization is itself a political act, not a theological one.

David and Jonathan

In 1 Samuel, Jonathan’s soul is knit to David’s soul. The text uses the Hebrew word ahav — love — the same word used for romantic love elsewhere in scripture. When Jonathan dies, David mourns: your love to me was wonderful, surpassing the love of women. That sentence is in the text. It has always been in the text. The tradition has read it as brotherly devotion. That reading is a choice, not a certainty. None of us were there.

Ruth and Naomi

Ruth says to Naomi: where you go I will go. Where you die I will die. There I will be buried. It is one of the most complete declarations of devotion in all of scripture. The tradition reads it as loyalty between women. That reading is a choice, not a certainty. None of us were there.

Jesus and the Beloved Disciple

In the Gospel of John, one disciple is identified repeatedly as the one Jesus loved. At the Last Supper he reclines against Jesus. At the crucifixion, when every other male disciple has fled, he remains. Jesus from the cross entrusts his mother to this man’s care. The tradition has worked carefully to keep this relationship fraternal. That work is a choice, not a certainty. None of us were there.

These three relationships share something important. They are not incidental to their texts. They are central to them. The authors of scripture chose to place same-sex love — sexual or not — at the heart of the narrative. The institution chose to read that love as something other than what the language describes.

Both readings are interpretive. Only one claims to be definitive.

The political nature of that claim becomes visible when you ask a simple question: who benefits from the desexualization? Not the text. Not the theology. Not the figures themselves. The institution benefits. The institution that has built its authority in part on the regulation of sexual behavior requires that the sacred figures of its own tradition be unambiguously heterosexual — or unambiguously celibate — or unambiguously beyond the question entirely.

What has been applied to these relationships across centuries is a veneer of heteronormative context. And that veneer has a problem.

Gay people existed in first century Palestine.

They existed in ancient Israel.

They existed wherever and whenever human beings have existed. The murals of Pompeii conclusively prove that fact. To suggest otherwise is not theology. It is erasure. The figures in these stories could have been a part of the queer community. That is not a claim. That is simply the acknowledgment that it is not possible to say they were not there.

The problem is that the text keeps raising the question. The text keeps placing men who love men and women who love women at the center of the story. The institution keeps answering a question the text refuses to close.

And that’s not nothing.

The Milk Man 2026 Digital Photocollage

Vermeer’s Milkmaid has carried erotic symbolism since it was painted. The Metropolitan Museum of Art documents that the milkmaid theme was understood as sexually coded in Netherlandish art for two centuries before Vermeer — the jug, the pour, the domestic space all legible to their original audience.

Behan’s collage holds the same room, the same window, the same table, with the same palette of warm muted colors in a soft blur. The milkmaid is replaced with two male figures and the bread is replaced with a foot long coney dog.

The symbolism the Met describes — the jug, the pouring, the food as sexual symbol — is all still operating. Behan has taken the subtext and turned it to context from a queer perspective. Gay men were in the Netherlands also.

On the surface it’s visual humor. Underneath it’s a serious art historical argument — that the erotic coding in Western painting has always been there, has always been heterosexually assumed, and that substituting a queer reading doesn’t distort the painting’s meaning so much as reveal that the meaning was always available to queer folk as well. As it should.

Vermeer would smile.

Source

The Metropolitan Museum of Art. “The Milkmaid — The Milkmaid Theme.” metmuseum.org.

Male Mystique

The Gay Gaze: On the Male Mystique | Beginning with Beau Travail | Digital Photo Collage Triptych | 2026 | The Closet Series — Behan

A new direction begins here.

The Closet Series has spent years looking inward — reclaiming queer history, naming the hidden, making the missing photographs. Now the gaze turns outward. Toward straight men. Toward the masculine body as subject. This is the Gay Gaze.

The starting point is Beau Travail, the 1999 film by French director Claire Denis. Denis trained her camera on French Foreign Legion soldiers in the desert of Djibouti. Almost no dialogue or plot. Only bodies. Moving, training, resting, watching each other. The male body as a landscape.

The Gay Gaze affirms that the masculine body is worth looking at. That looking is itself an act. That when the observer changes, so does what is seen.

These three collages are drawn from that film. They are not conclusions. They are an opening.

The blood moon is watching. Jupiter 3 is overhead. The gaze has just begun.

Gay Gazing

The Gay Gaze: A Timeline Documenting the Transition from “Behavior Is Identity” to “Identity Is Not Behavior” in American Culture, 1748–2025

The Closet Series — Behan

1748

The word masculinity enters the English language, initially as a grammatical term. It describes a category of nouns. It will take another century before it describes a category of men.

1868

Karl-Maria Kertbeny, a German-Hungarian journalist and physician, coins the words heterosexual and homosexual in a private letter to activist Karl Ulrichs. He is arguing against Prussia’s sodomy laws. He needs a category to defend. So he invents one. In doing so, he invents its opposite.

1892

The word heterosexual makes its first appearance in an American medical journal, in an article by Dr. James G. Kiernan. Heterosexuality is classified as a form of perversion — an excessive and misdirected appetite toward the opposite sex. The category arrives in America as a diagnosis, not a norm.

1901

Dorland’s Medical Dictionary defines heterosexuality as an “abnormal or perverted appetite toward the opposite sex.”

1934

Heterosexuality enters common American usage as a positive identity — the norm against which deviance is measured. From this point forward, behavior and identity are the same thing. You are what you do. The category is total or it is nothing.

1947

Los Angeles produces Vice Versa, the earliest known lesbian publication in the United States. It is typed and hand-distributed. It does not use the mail. It cannot.

1948

Alfred Kinsey, Wardell Pomeroy, and Clyde Martin publish Sexual Behavior in the Human Male. Kinsey’s scale runs from 0 to 6. Zero is exclusively heterosexual. Six is exclusively homosexual. The research finds that most men do not live at the poles. Significant percentages of men report same-sex experiences but identify as heterosexual. The behavior and the identity do not match.

1950

Harry Hay founds the Mattachine Society in Los Angeles — the first sustained gay rights organization in the United States.

1952

Dale Jennings, arrested in Los Angeles on a charge of sexual solicitation, becomes the first known gay man to contest the charge publicly rather than plead guilty to avoid exposure. The jury deadlocks. The judge dismisses the case.

1953

ONE Inc. begins publishing ONE Magazine in Los Angeles — the first nationally distributed homosexual publication in the United States.

1955

Del Martin and Phyllis Lyon found the Daughters of Bilitis in San Francisco — the first lesbian organization in the United States.

1958

The U.S. Supreme Court rules in One Inc. v. Olesen that the federal government cannot suppress a gay publication on grounds of obscenity. It is the first Supreme Court ruling in favor of gay rights. That same year, the first recorded gay riot in American history takes place at Cooper Do-nuts in downtown Los Angeles, when patrons fight back against routine LAPD harassment.

1967

On New Year’s Eve, undercover LAPD officers raid the Black Cat Tavern in Los Angeles’s Silver Lake neighborhood, beating patrons and arresting sixteen people. On February 11, approximately 200 people march in protest — one of the first organized public demonstrations for gay rights in American history.

1969

On June 28, patrons of the Stonewall Inn in New York City resist a police raid. The uprising lasts several days. The gay community seizes behavior — resistance, visibility, presence — and makes it identity. Pride marches follow the next year in New York, Los Angeles, San Francisco, and Chicago.

1973

The American Psychiatric Association removes homosexuality from its Diagnostic and Statistical Manual of Mental Disorders. Same-sex attraction is no longer a pathology. The binary holds.

1978

Fritz Klein publishes The Bisexual Option, proposing a seven-variable grid that measures attraction, behavior, fantasy, emotional preference, social preference, self-identification, and lifestyle — separately, across time.

1981

On June 5, the Centers for Disease Control reports five cases of a rare pneumonia among young gay men in Los Angeles. On July 3, twenty-six cases of Kaposi’s sarcoma are reported among gay men in New York, Los Angeles, and San Francisco. The disease will be called GRID — Gay-Related Immune Deficiency — before it is renamed AIDS. Behavior is immediately coded as the cause, the vector, and the identity of the epidemic. To have it is to be identified by what you did.

1986

The U.S. Supreme Court rules in Bowers v. Hardwick that states may criminalize sodomy between consenting adults of the same sex. The state’s position is explicit: the behavior defines the person, and the person may be criminalized for it. The closet receives federal endorsement.

1996

Congress passes the Defense of Marriage Act, signed by President Clinton. Marriage is federally defined as a union between one man and one woman. Identity, at the level of the state, requires the correct behavior to qualify.

2003

On June 26, the U.S. Supreme Court rules 6-3 in Lawrence v. Texas, striking down the remaining sodomy laws in fourteen states. For the first time in American history, the law formally declares that behavior is not identity. The majority opinion holds that the state cannot demean anyone’s existence or control their destiny by making their private sexual conduct a crime. The transition is official. The country has crossed from “behavior is identity” to “identity is not behavior.”

That same year, Jeffrey Escoffier publishes Gay-for-Pay: Straight Men and the Making of Gay Pornography — the first formal academic study of straight-identified men performing in gay adult film. The law has just separated behavior from identity. Academia is already documenting men who have been living that separation all along.

2010

Researchers Reback and Larkins formally define and study heterosexual-identified men who have sex with men — H-MSM. The finding is clinical: these men are not closeted gay men. They retain their heterosexual identity across time and across contexts. The discordance between identity and behavior is sustained. It does not resolve.

2015

On June 26, the U.S. Supreme Court rules 5-4 in Obergefell v. Hodges that same-sex couples have a constitutional right to marry in all fifty states. Identity is granted full legal standing independent of what the dominant culture has historically required behavior to prove. Lawrence and Obergefell are both decided on June 26, twelve years apart.

2022

On June 7, Nick Fitt, then head of production at Falcon Studios, announces he will no longer hire gay-for-pay performers. The backlash is immediate. Falcon Studios publicly denounces the position as discriminatory. Fitt exits the company. The industry has made its ruling: straight men in gay adult film are not a contradiction. They are a market.

2024–2025

Peer-reviewed research estimates that heterosexual-identified men who have sex with men comprise approximately 0.5 to 3.5 percent of heterosexual men, and between 1.26 and 5.4 percent of all men who have sex with men. A separate estimate places H-MSM at approximately 8 percent of sexually active cisgender males in North America. Contemporary sexuality researchers now define orientation by three components — identity, attraction, and behavior — and understand these as potentially independent of one another.

2025

The Braidwood Management case reaches the U.S. Supreme Court, challenging the ACA requirement that insurers cover PrEP — the medication that reduces HIV transmission by approximately 99 percent — without cost-sharing. The original lawsuit is described by advocates as an attack initiated by conservative plaintiffs who sought to ensure that gay men could not access PrEP, on the grounds that the medication encourages and facilitates homosexual behavior. On June 27, the Court rules 6-3 to uphold the coverage requirement. The Trump administration simultaneously moves to defund CDC HIV and hepatitis prevention programs. The argument against PrEP is the argument against the behavior. The argument against the behavior is the argument against the identity. The logic is 1934. The year is 2025.

Sources

Kertbeny, Karl-Maria. Private letter to Karl Ulrichs, May 6, 1868.

Kiernan, James G. “Responsibility in Sexual Perversion.” Chicago Medical Recorder, 1892.

Dorland’s American Illustrated Medical Dictionary. 1901.

Kinsey, Alfred C., Wardell B. Pomeroy, and Clyde E. Martin. Sexual Behavior in the Human Male. W.B. Saunders, 1948.

Klein, Fritz. The Bisexual Option. Arbor House, 1978.

Centers for Disease Control. Morbidity and Mortality Weekly Report, June 5, 1981.

Bowers v. Hardwick, 478 U.S. 186 (1986).

Defense of Marriage Act, Pub. L. 104-199 (1996).

Escoffier, Jeffrey. “Gay-for-Pay: Straight Men and the Making of Gay Pornography.” Qualitative Sociology, 2003.

Lawrence v. Texas, 539 U.S. 558 (2003).

Reback, Cathy J., and Steven Larkins. “Maintaining a Heterosexual Identity: Sexual Meanings Among a Sample of Heterosexually Identified Men Who Have Sex With Men.” Archives of Sexual Behavior, 2010.

Blank, Hanne. Straight: The Surprisingly Short History of Heterosexuality. Beacon Press, 2012.

Obergefell v. Hodges, 576 U.S. 644 (2015).

Scheadler, Travis R., et al. “Identity Development, Attraction, and Behavior of Heterosexual-Identified Men Who Have Sex with Men: A Scoping Review.” Sexuality Research and Social Policy, 2024–2025.

Kennedy v. Braidwood Management, U.S. Supreme Court, decided June 27, 2025.

The Timeline is Always Present.

Timeline

Figures Across Fields of Time | Digital Photo Collage | 2026 | The Closet Series — Behan

The Timeline is Always Present

79 AD — Pompeii, Italy

A volcanic eruption buries a city in a single day. Everything stops. The ash preserves what it destroys. Centuries later, a figure emerges from the excavation — scarred, incomplete, still standing on his gilded pedestal. He does not know he has survived an apocalypse. He simply has. He carries no explanation for his survival. Only the evidence of it.

June 10, 2026 — Dallas, Texas

A man in red latex appears in a social media feed. He is selling something. He is also, without knowing it, making a statement. Hand over heart. Full color. Fully present. The artist sees him, makes him a sticker, and pulls him into a collage. The present tense is an act of curation.

Somewhere in the Future

A face assembles itself from code and light. AI. Anime. The not-yet. He has no fixed date. He rises behind the other two, watching, still being rendered. We don’t know what he sees from where he stands. We don’t know what world he is looking out at.

This collage has three figures because that’s where we are at this point in time. Fifty years from now, perhaps a new figure can be added to this collage, one that answers the question. I would love that.

A central question: Will the rights gay men have fought for hold?

We don’t know. That is why this collage remains forever open.

For the answer.

On Red Flags

Here it is:

On Red Flags

Digital Photocollage, 2026 | The Closet Series — Behan

Clothing makes us okay, as long as the clothing is pre-approved.

Who made these rules? Turns out Mark Zuckerberg did.

January 7, 2025: Meta CEO Mark Zuckerberg announces a complete overhaul of content policies across Facebook, Instagram, and Threads. The new policies end fact-checking, gut content moderation, and rewrite the hateful conduct policy to expressly permit abuse against LGBTQ+ people while forbidding the same abuses against all other communities. Users can now call gay people mentally ill, call for their exclusion from professions, and refer to transgender people as “it.” Leaked Meta training materials obtained by The Intercept include examples of newly permitted speech: “Gays are freaks.” That is now allowed. A shirtless gay man in a Pride crowd is not.

May 13, 2025: GLAAD releases its fifth annual Social Media Safety Index. Facebook and Instagram each score 45 out of 100. The report documents unprecedented hate speech policy rollbacks actively undermining the safety of LGBTQ+ people online and offline. The Electronic Frontier Foundation documents a surge in LGBTQ+ account takedowns, describing it as “algorithmic silencing.” Over 200 LGBTQ+ and reproductive health accounts are removed or restricted in 2025 alone — more than double the 81 documented in all of 2024. “This has been, to my knowledge, one of the biggest waves of censorship we are seeing,” said Martha Dimitratou of Repro Uncensored.

Sources

• GLAAD: Social Media Safety Index 2025

• Human Rights Campaign: Meta’s New Policies — How They Endanger LGBTQ+ Communities (2025)

• LGBTQ Nation: Meta Accused of Banning LGBTQ+ Accounts in One of Its Biggest Waves of Censorship (December 2025)

• Axios: Zuckerberg’s New Policies for Facebook and Instagram Open Door to Hate Speech (January 2025)

• Electronic Frontier Foundation / Bay Area Reporter: LGBTQ+ Censorship on Instagram Has Surged (2025)

• Prism Reports: Social Media Users Grapple With Anti-LGBTQIA+ Policy Changes (2025)

Quartet

2 by 4 | Quartet

Digital Photocollage Series, Four Works, 2026 | The Closet Series — Behan

Being gay in 2026 means navigating a world of startling contradictions. Nearly 9% of American adults now identify as LGBTQ+, a figure that has more than doubled since 2012. One in five adults under thirty identifies as queer. Gay marriage is considered among the most stable of all marriages. And yet ninety percent of LGBTQ+ young people report that recent anti-LGBTQ+ laws and political debates have caused them stress or anxiety. The unemployment rate for gay and bisexual men is nearly double that of heterosexual men. This is the world these four collages inhabit — expansive, joyful, erotic, playful, and under constant pressure from an uncaring culture.

The Playful

Chess in Speedos. Three figures repeated across the panel, Jupiter 3 hovering overhead, the aquarian moon watching from the upper corners. The repetition is the joke and the argument simultaneously — look again, and again, at men at play, at ease, at home in their own skin. Gay men have always known how to play. The world has not always let them.

The Revealed

Richard Chamberlain, disrobed, in chiaroscuro — the warm browns, blacks, and whites of the composition spreading across the panel like light finding its subject at last. Paired with a figure flexing on the left, the collage is about the act of revealing oneself. Chamberlain played Father Ralph de Bricassart in The Thorn Birds (1983) — a priest torn between God and forbidden desire, the closest he ever came on screen to playing his own interior life. But this image goes further. Here he is unclothed, present, fully himself on camera — and for a gay man who spent decades hiding, that has a particular weight. He wrote in his 2003 memoir: “I disliked myself intensely and feared this part of myself intensely and had to hide it and became ‘Perfect Richard, All-American Boy’ as a place to hide.” He came out near the end of his life. He died in March 2025 at ninety. This collage is about what it costs to hide, and what it means to finally be seen.

Expression and Suppression

One diptych, two registers of desire. On the left, two men making love — fully present, surrounded by an edenic garden in full flower, the aquarian moon overhead, Jupiter 3 at the periphery. Frank, unhurried, given space and light. On the right, Eva Marie Saint and Cary Grant at dinner in North by Northwest, Hitchcock’s most elegant exercise in suppressed desire. Hitchcock famously ended the film with a train entering a tunnel — his own winking shorthand for what the censors would not allow him to show. The erotic is present in both panels. On the left it is expressed. On the right it is encoded, sublimated, buried inside the grammar of a genre that could only speak in metaphor. Expression and suppression. The same desire, two different worlds. What The Closet Series has always been making: the missing photographs.

Straight Men Know a Good Thing

Straight men have always known where the money is. Gay male content on OnlyFans expanded 40% in revenue between 2022 and 2023 alone. Gay audiences subscribe at a 68% retention rate and pay premium rates. Straight men figured this out fast. Sites like OnlyFans and JustForFans made it straightforward for straight men to upload content explicitly marketed to gay followers, collecting checks while making sure everyone knows they are, in fact, straight. Gay baiting as economic strategy. The seductive pose, the shirtless selfie, the swim week caption — performed for a gay male audience and a straight female audience simultaneously, with one hand always on the exit sign that reads: not gay, just entrepreneurial. Gay culture created the market. Straight men monetized it. This collage puts twelve of them in a single frame. The boys love swim week. The boys know a good thing.

As of 2026, the number is growing. The acceptance is growing. The legislation against that acceptance is also growing. Gay men are chess players and priests and swim week regulars and lovers in gardens. They are all of these things at once, in a world that still cannot quite decide what to do with them.

Sources

• Gallup: LGBTQ+ Identification in U.S. Rises to 9.3% (2025)

• The Trevor Project: 2025 U.S. National Survey on the Mental Health of LGBTQ+ Young People (2026)

• WorldMetrics: Gay People Statistics (2026)

• Mental Health Stats: LGBTQ+ Mental Health Statistics (2026)

• Hollywood Reporter: Richard Chamberlain Advises Other Gay Actors: Stay in the Closet (2010)

• Windy City Times: Gay Actor Richard Chamberlain Dies at 90 (2025)

• Gitnux: Male OnlyFans Statistics (2026)

• EDGE Media Network: Straight Men Are Profiting from Gay Fans on OnlyFans

Love and Fear

Love and Fear

Digital Photocollage Series, Seven Works, 2026 | The Closet Series — Behan

These seven works take as their subject two fundamental emotions — love and fear. In visual art, figure and ground define each other. Neither exists without the other. Here, that formal relationship becomes a philosophical one. The ground is fear. The figures are love. One cannot exist without the other. We all love something, and fear something, they are endemic to our nature, two sides of the same sword.

The ground for all seven works is drawn from La Horde (2009), a French film widely considered one of the greatest zombie films ever made. Beneath its genre surface, the film is an allegory for the French Indochina War of 1946 to 1954 — an eight-year conflict in which France, attempting to reassert colonial rule over Vietnam, Cambodia, and Laos, was defeated by the Viet Minh independence forces led by Ho Chi Minh. The war ended at the Battle of Dien Bien Phu in May 1954. France lost approximately 55,000 men. The cost of colonial hubris, rendered in blood.

Death hungry for life.

Against that ground, seven figures and objects are placed. A kiss. Two men making love. A station wagon. Dorothy. Three men standing together. An animated couple. A coney dog. Each one something familiar, something ordinary, something that belongs to love.

The ordinary moments of human connection are not diminished by the horde pressing in around them. They are illuminated by it. We see what they are worth because we see what surrounds them. The figures are the lifeboats from a sinking vessel, the ground the indifferent body of water. Where there is love, there is hope, the antidote to fear.

Two forces.

One frame.

As they always seem to be and perhaps need to be.

• La Horde (La Horde, 2009) — directed by Yannick Dahan and Benjamin Rocher

Mile High | Digital Photocollage I 2026

Mile high?

Heck yeah.

A Stratos Jets survey of 2,000 regular flyers found that nearly 17% had done something sexual on a plane beyond kissing, and an additional 52% had fantasized about it. The term itself dates to 1914, when a young aviator named Lawrence Burst Sperry invented the autopilot system — which, as it turns out, freed up his hands for other things.

Nobody broke down the mile high club statistics by sexual orientation. Nobody thought to ask. Which is interesting, because it would have been a genuinely useful question. As of 2025, 9% of U.S. adults identify as LGBTQ+. Gay people have always been on those planes. The 17% who admitted to sky-high activity? We have no idea who they were going home to. Some of them may have been going home to each other. While this domain seems largely a heterosexual affair, we have to imagine there are some queer connections made.

This collage imagines just that.

Operating in a register of cloud like dreaminess — soft sky blues, pale creams, warm lavender—the work opens with a color palette that reads as almost pastoral. The flight attendant dominates the foreground, large beefcake and gloriously blurred. A twink in focus stands nearby noticing. Dominating the composition, narrative, and innuendo is the fabled foot long hot dog, connecting the two figures front to end, pun definitely intended.

It’s that kinda flight.

Last but never least, the quintessential gay heroine—Dorothy with Toto—she’s flown before. It’s all about the rainbow.

Classic.

Stratos Jets: The Truth About Mile-High Romance

HUD App Blog: The Mile-High Club — Is It Worth It?

Lonely Planet: Mile High Club Membership

Gallup: LGBTQ+ Identification in U.S. Rises to 9.3% (2025)