KEIJSERS KONING

These Letters Don’t Run, LGBTQ
Group Show

May 17 – June 28, 2025

On February 3, 2025, the National Park Service (NPS) removed references to “transgender” and “queer” individuals from the official website of the Stonewall National Monument, altering the acronym “LGBTQ” to “LGB.” This action, taken in compliance with executive orders issued by President Donald Trump, has been
widely criticized as an erasure of the significant contributions of transgender and queer individuals to the LGBTQ rights movement.

In response to this revisionist act, our exhibition stands as a testament to the resilience and vibrancy of the whole community. Through personal narratives, artistic expressions, and historical accounts, we aim to honor the love, pain, and existence of those whose stories are too often marginalized. This exhibition is not only a remembrance but also a declaration: We see you, we hear you, and we stand with you.
“Then they came for me—and there was no one left to speak for me.” Martin Niemöller, 1946 Quinci Baker (Washington, DC; 1987) is a mixed-media artist and educator from Prince George’s County, Maryland. Her works explore collective memory, loss and imagination. Baker earned her BFA from The Cooper Union School of Art and MFA in Painting and Printmaking from the Yale School of Art in 2022. She currently lives and works in New York City, where she teaches at the Cooper Union. Notable Exhibitions:
Jeffrey Deitch, NYC; The Hole, NYC; Cierra Britton Gallery, Brooklyn; Mehari Sequar, DC; AIR gallery, NYC; and Keijsers Koning, Dallas where she will have a solo exhibition the fall of 2025.

Jimi Dams (Mortsel, Belgium; 1963) graduated in1984 from the Academy of Fine Arts in Antwerp and landed in the DIY Punk movement. He embarked on a journey within the art world working with figures like Amanda Lear, Michael Clark, and avant-garde figures of the art world. Dams established his artistic presence by creating works that straddle the realms of printmaking, drawing, painting, and collage. He is best known for
his embrace of neo-pointillism. Rooted in the concept of restructuring dots to fit into a contemporary setting, he uses graphite dots in various shapes and forms in his drawings. His collages are meticulously composed of sequins—each carefully applied to form images made up of hundreds of tiny dots. He pushes the boundaries of the physical composition and explores a dead pan moment for its sexual tension and a sense of romanticism.

Jack Early is a known artist of many traits from early collaborative recognition with Rob Pruitt as Pruitt-Early; to singer/songwriter; to sculpture; to painter. The thread is more in the narrative that challenges orthodoxies and blurs the boundaries of his poetic lyrics becoming acts of expression. Early graduated from the University of North Carolina School of the Arts. Recent exhibitions have included Pop Life: Art in a Material World, Tate Modern, London, 2009–10; Mapping the Studio: Artists from the François Pinault Collection, Palazzo Grassi, Venice, 2009–11; Jack Early: WWJD, Southfirst, Brooklyn, 2012; Jack Early: Gallery Peace, McCaffrey Fine Art, New York, 2012; Jack Early, Fergus McCaffrey, New York, 2016; and A Better Yesterday, Contemporary Arts Museum Houston, 2017. In 2024 Early had a survey show at the Wilson
Arts, NC. He will have a solo show forthcoming in 2026 at Keijsers Koning.

Barbara Hammer (Hollywood, CA; 1939 – NYC, NY; 2019) was a pioneering feminist filmmaker and visual artist whose work spanned over five decades. A central figure in queer cinema, she created nearly 90 moving-image works—primarily in 8mm, Super 8, and 16mm—as well as installations, photography, performance, and works on paper. Her films and photographs explored themes of lesbian identity, female sexuality, aging, and the body, often challenging dominant narratives through abstraction and intimacy.
Hammer’s work was widely exhibited, including in the 1985, 1989, 1993, and 2019 Whitney Biennials, and in WACK! Art and the Feminist Revolution at MOCA LA (2006) and MoMA PS1 (2007.) Retrospectives of her work have been presented at the Museum of Modern Art (MoMA) (2010), Tate Modern, London (2012), and the Jeu de Paume in Paris (2012). In 2019, the National Gallery of Art in Washington, D.C., hosted a film series, titled Barbara Hammer: Boundless (2019); and the Wexner Center for the Arts in Columbus (2019). Her works are held in the permanent collections of the Art Institute in Chicago (AIC), MoMA, the Whitney Museum of Art in New York, the Centre Pompidou in Paris, and the Australian Centre for the Moving Image in Melbourne.

Ted Kincaid (Chattanooga, TN; 1966) has systematically subverted the notion of an objective photographic record and examined the play between painting and photography. Increasingly, his practice has expanded beyond these mediums, and engaged a grander narrative, encompassing queer history, futurism and transcendence. His work is included in the permanent collections of the Dallas Museum of Art, L’Associazione Fotografica Imago, Arezzo, Italy, the Museum of Fine Arts in Houston, the Museum of Fine Arts in San Antonio, The Columbus Museum, and the Georgia Museum of Art where Kincaid had his first solo museum exhibition in 2018.

Molly Vaughan (b. 1977 London, UK) holds a BFA from the School of Visual Arts in New York City and a MFA from the University of South Florida in Tampa, Florida. Her work has been exhibited nationally and internationally in solo and group exhibitions, including the exhibitions MOTHA and Chris E. Vargas Present: Trans Hirstory in 99 Objects at the Henry Art Gallery at the University of Washington and We the People at
the Minnesota Museum of American Art. Vaughan received the Betty Bowen Award for 2017. In 2018, Vaughan’s solo exhibition at the Seattle Art Museum titled Project 42 addressed the pattern of violence against transgender people in the United States. She has received grants from Art Matters Foundation, Visual Artists Network, the Pollination Project, and the Hillsborough Arts Council. Her work has been featured in The Advocate, Surface Design Journal, City Arts Journal, Tampa Bay Times, and New
American Paintings. Vaughan’s work is in the collections of Seattle Art Museum, Bainbridge Island Museum of Art, Frye Museum of Art, the Block Museum at Northwestern University, The Henry Art Gallery, and the Stanley Museum of Art at the University of Iowa.

Demian DinéYazhi’ is a Diné transdisciplinary artist, poet, and curator born to the clans Naasht’ézhí Tábąąhá (Zuni Clan Water’s Edge) & Tódích’íí’nii (Bitter Water). DinéYazhi ́ ‘s praxis interrogates normative spaces by refusing to settle or perform for exploitative galleries & publishers that act as gatekeepers to the lethargic, toxic legacy of Western paradigms. They are a survivor of attempted european genocide, forced assimilation, sexual & gender violence, capitalist sabotage, & hypermarginalization in a colonized country that refuses to honour the Indigenous Peoples whose Land it occupies & refuses to return. They live & work in a post-post-apocalyptic world unafraid to fail.

DONE The Magazine is an independent publication created for and by the underrepresented — culture shapers too often left out of the narrative. Each issue reclaims authorship through voices rooted in lived experience, creative wholeness, and visionary thought. Founded by graphic designer and creative director Mark Baker-Sanchez, DONE fuses bold storytelling with immersive design to reflect the times, inspire transformation, and center truth. The magazine is founded by Mark Baker-Sanchez.

Keijsers Koning

150 Manufacturing street, suite 201
Dallas, TX 75207
469.961.5391

Public Hours : Wednesday – Saturday 11am – 5pm
Appointment only; Monday – Tuesday

keijserskoning.com