New York, NY—The New York Historical’s new exhibit, The Gay Harlem Renaissance, examines the Black LGBTQ+ artists, writers, and performers central to the Harlem Renaissance and everyday Black gay life in the early 20th century. Marking the centennial of The New Negro—the landmark 1925 anthology edited by Alain Locke—the exhibition traces the queer creativity, friendship circles, and mentorships that flourished in Harlem’s salons, social clubs, and thriving nightlife and that helped power the Harlem Renaissance.

This may well be the first exhibition to explore the Harlem Renaissance through a LGBTQ+ lens. “The Gay Harlem Renaissance” is on view through March 8, 2026.

As Harlem grew into the nation’s largest Black metropolis after the First World War, Black Southern and Caribbean migrants, activists, and creatives transformed the neighborhood into a nexus of political activism, creative expression, and community life. Many of Harlem’s most celebrated poets, novelists, and artists were gay or bisexual (some discreetly and others openly); and many of the preeminent blues singers performing in nightclubs and basement speakeasies were lesbian, bisexual, or transmasculine.

Whether on Harlem’s biggest stages or in its nightclubs or hidden speakeasies, LGBTQ+ performers took center stage. Together they helped shape the cultural innovation that defined the era. Amid this cultural convergence, queer and straight artists formed close-knit circles—living together, mentoring one another, and exchanging ideas that shaped the future of Black art and culture. Their creative tensions—whether over how openly to depict same-sex desire or the so-called “unrespectable” venues of Harlem’s nightlife—helped shape the bold, expansive spirit of the Harlem Renaissance.

“The Gay Harlem Renaissance provides a sweeping portrait of Harlem after the First World War, when a remarkable generation of Black artists, thinkers, and performers—many of them members of the LGBTQ+ community—shaped a new cultural vanguard,” said Dr. Louise Mirrer, president and CEO of The New York Historical. “We hope that this show will invite visitors to consider how intimate friendships, chosen families, and radical ideas about identity helped define the Harlem Renaissance and continue to resonate today.”

“The Gay Harlem Renaissance shows that Black LGBTQ+ life was far more visible, accepted, and integrated into the daily life of 1920s Harlem than most people imagine,” said George Chauncey, the exhibition’s chief historian, a Columbia history professor who is the author of Gay New York, 1890-1940.  “The exhibition takes visitors to the basement speakeasies, rent parties, and drag balls where ordinary queer and straight people built lives together, as well as to the salons of the cultural elite.”

Featuring more than 200 objects, The Gay Harlem Renaissance unites painting, sculpture, artifacts, documents, photographs, books, and music from collections across the country and celebrates the creativity, innovation, and resilience of Black LGBTQ+ Harlemites.

Highlights of the exhibition include:

• Employment of the Negro in Agriculture, a 1934 painting by Earle Richardson, on loan from Howard University, honors the resilience of African American agricultural laborers within the oppression of the Jim Crow system.
• Color, the 1925 first edition of Countee Cullen’s first book of poetry, published when he was 22. Countee Cullen found a champion and mentor in Alain Locke, who included his poetry in The New Negro and helped Cullen accept his sexuality.
• Gelatin silver print of Gladys Bentley, circa 1927-45. Taunted as a child for her unfeminine demeanor, the transmasculine performer Gladys Bentley became a star in Harlem, singing and playing piano all night at rent parties and popular nightclubs. Her signature white tuxedo and top hat have become icons of queer self-expression on and off the stage.
• Rent party tickets. Throwing apartment parties with a small cover charge in exchange for entertainment and lively company helped working-class residents pay the rent. The fact that LGBTQ+ Harlemites could dance and flirt with people of the same sex at such parties was a powerful sign of their acceptance among Harlem’s working-class residents.
• Meditation and Music, a 1925 watercolor by Aaron Douglas. Influenced by the work of Alain Locke, Douglas moved to Harlem, where he illustrated some of the most famous books and magazines of the Harlem Renaissance. While Douglas was not gay, he was close to many Black queer artists and moved in their social circles.
• Sculptures by Richmond Barthé, whose artworks chart his movement through interracial and transatlantic gay social circles. His subjects included the popular singer and nightclub owner Jimmie Daniels and the queer Senegalese dancer François “Féral” Benga, whom he met in Paris.
• 1939 issue of The Crisis magazine. Black publications experienced tremendous growth in readership, circulation, and influence during the interwar years. The Black press provided coverage of the vibrant political, cultural, and social life in Harlem and beyond.  
• Photographs by Morgan Smith and Marvin Smith created an extraordinary documentary record of the Harlem community from the 1930s to 1950s. Their work captured Black joy and struggle alike. They came to know most of the pioneering figures of the Harlem Renaissance as well as rising talent.
• Recordings of blues songs with queer themes by singers such as Bessie Smith, Ma Rainey, and Ethel Waters, as well as specially created audio recordings of poetry by Langston Hughes and other poets, as well as a passage from Nella Larsen’s novel, Passing.
• Recreation of the prize-winning gown worn by Bonnie Clark at the 1932 Hamilton Lodge Ball, the largest drag ball on the East Coast, which was held every February in Harlem’s Rockland Palace. 
• Harlem Diner, a 1938 painting by Jacob Lawrence, depicting five Black figures with downturned expressions gathered in a Harlem diner, facing the struggles of daily life. During the Great Depression, Harlemites faced mass unemployment, overcrowding, and persistent racial discrimination.

The exhibition is curated by lead curator Allison Robinson, associate curator of history exhibitions; with Anne Lessy, assistant curator of history exhibitions and academic engagement; with Rebecca Klassen, curator of material culture and decorative arts, contributing; and with George Chauncey, author of Gay New York and DeWitt Clinton Professor of American History at Columbia University, as chief historian.

Programming: A family guide for young visitors to the exhibition will be available. Living History programs focused on Gladys Bentley will also take place at a future date. Visit the family calendar for details. Private group tours can also be arranged throughout the exhibition.

Lead support for The Gay Harlem Renaissance is provided by the Mellon Foundation. Important support is provided by Pamela and David Hornik. Exhibitions at The New York Historical are made possible by Dr. Agnes Hsu-Tang and Oscar Tang, the Saunders Trust for American History, the Evelyn & Seymour Neuman Fund, the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. WNET is the media sponsor.

New York’s first museum, The New York Historical is a leading cultural institution covering over 400 years of American history. Offerings span groundbreaking exhibitions; peerless collections of art, documents, and artifacts; acclaimed educational programs for teachers and students nationwide; and thought-provoking conversations among leading scholars, journalists, and thinkers about the past, present, and future of the American experiment. The New York Historical is a museum of museums and a collection of collections and home to the Patricia D. Klingenstein Library, the Center for Women’s History, the DiMenna Children’s History Museum, and the future American LGBTQ+ Museum. “We elevate the perspectives and scholarship that define the United States’ democratic heritage and challenge us all to shape our ongoing history for the better.”

The New York Historical, 170 Central Park West (77^th Street), New York, NY 10024, 212-873-3400, nyhistory.org.

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