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Whitman-Walker’s Liz complex artfully adorned
Pieces chosen to reflect journey of HIV/AIDS patients and survivors
As you walk through the tastefully decorated corridors of the now vibrant and colorful Liz, it’s easy to forget she began as the somber and secretive Elizabeth Taylor Medical Center in the early days of the AIDS crisis.
Founded in 1973 as The Gay Men’s VD Clinic operating in the basement of Georgetown Lutheran Church, Whitman-Walker specializes in LGBT health care.
When an initially unknown deadly disease was rapidly killing young gay men across the U.S., including locals, the small clinic’s role forcibly expanded to meet the unexpected demand.
“We’re absolutely on the front lines of this work,” says Don Blanchon, Whitman-Walker Health System CEO. “And that harkens back to the early days of the HIV epidemic. Gay men were impacted by this disease and we didn’t know anything. We didn’t know the science. We didn’t know how to treat it.”
At the height of the crisis in the early ‘90s, Whitman-Walker moved into the property on the corner of 14th and R. The Elizabeth Taylor Medical Center was dedicated in 1993 and was named for the screen legend, a major donor, who attended the ceremony.
“When you look back, the volunteers of the late ‘80s and early ‘90s were on the front lines,” says Blanchon, a straight ally. He says the original building looked like a bunker with frosted windows, private counseling rooms and a security guard out front. “It connotes where the epidemic was and how powerful stigma, discrimination and bias were.”
Whitman-Walker remained at the location for about 20 years and slowly watched the stigma ease as new treatments were found and more people were living with HIV instead of dying of AIDS in mass numbers.
However, Blanchon points out discrimination and bias against the community continues. In 2014, Whitman-Walker selected Fivesquares Development as a partner to redesign the old medical center to face new challenges head on and as an out-front representation of a vibrant community of survivors.
Fivesquares brought on renowned architect Annabelle Selldorf to design her first D.C. project, which involved an extensive study of Whitman-Walker and overall Washington history. The result transformed what was once a church basement clinic into a public work of art.
“She hated the name ‘Liz,’ you know,” says Abby Fenton, Whitman-Walker chief external affairs officer of Taylor’s nickname, while showing the Blade a wall of founders’ pictures culminating in one of Taylor. “However, when we explained to her grandchildren that in our community the name was special, they agreed to it and have been very supportive.”
“So the world has moved forward,” Blanchon says, noting the openness of the new design. “The way we approached the new building is the way we approached our mission and programming: This needs to be an affirming and welcoming space for all, especially the LGBTQ community and people living with HIV.”
The new building is filled with soothing images that were either designed from news stories or original works designed for queer people.
“These pieces were designed specifically for Whitman-Walker’s lobby by a queer artist in Baltimore,” Fenton says, motioning toward a row of minimalist paintings in muted earth tones. The pieces are by Rene Trevino and called “Circumference Series: 14th Street, 2019,” acrylic and rhinestones on Mylar.
Fenton says the works were a collaboration between Whitman-Walker staff, patients and the artist resulting in quiet, circular images that capture patient experiences of feeling welcomed and embraced by the clinic.
Moving from the lobby and into the redesigned work area, more than a few of the pixilated, black-and-white images stenciled into the walls were derived from the Washington Blade’s coverage over the years. They gave the new building a sense of living history while infusing it with art.
“We wanted to make sure we captured where Whitman-Walker came from and our past,” Fenton (who’s straight) says, pointing to a donor wall made from Coke bottles and other framed mementos throughout the staff area. “Much of it came from the original building as a reminder of who we are and what we mean to the community.”
Around one corner, a pixelated image of Taylor herself stands watch as a silent reminder of the scores of young men who died during the height of the crisis.
“Art and expression have been a part of Whitman-Walker since its early days,” Blanchon says. “As an outlet against discrimination, bias and stigma (as well as) pain, loss and suffering. (They) are the best ways to release that.”
Today the Liz not only houses Whitman-Walker’s legal services, public benefits and clinical research program but also retail, cultural and residential spaces.
“We are thrilled to reveal five major art installations at LIZ,” wrote Fivesquares Development co-founders Ron Kaplan and Andy Altman in their “Art at LIZ” brochure. “The residential lobby, upper floors and the Belmont Garage at LIZ were designed as canvasses to provide exhibition space for site-specific art.”
Kaplan led the Blade on a residential tour beginning with the tactile works that greet visitors in the lobby.
Two signature pieces created just for the LIZ include Alice Hope’s shimmering transformation of box spring that reaches from the ceiling down into the sitting area and almost begs to be touched with childlike wonder and Toni Ross’s “June 1968,” which is a literal narrow stretch of stone wall that gathers strength as it grows and is punctuated with hidden bits of gold.
“Within the cracks you see the richest part of a project or a person,” Kaplan says of the piece. “These artists were inspired to do things they hadn’t done before for us.”
Both works are unfinished, but clearly exhibit the patience and control of masters of their craft.
As the tour continues, there’s a sense of descending the rabbit hole and into an urban wonderland of rainbows that were twisted at every turn.
“This is my favorite kind of art,” Kaplan says upon entering Almond Zigmund’s “Rainbow Kink,” a site-specific installation in the Belmont Garage of LIZ. “All of this is very much site-responsive. It was created very specifically for its space and to honor that space.”
As you move through the garage, the unusually colored rainbows, anchored by black and energized by shades of orange, yellow and blue, follow like curious imps creeping along walls, crouching in corners and crawling down from the ceiling.
Each one is different and angled with such precision the experience is one of moving through a gallery, yet with an eye toward the future.
As you walk from the garage and up through the well-lit residential areas with their floor-to-ceiling windows, there is the feeling of light, resilience and hope that Blanchon hopes to convey with the project.
“We are gathering around art and culture and discourse because of the connectivity and how important it is to one’s health and wellbeing,” he says. “So every element of the building is about life, vibrancy, hope and aspiration.”
This is most strongly felt on the rooftop with its breathtaking panoramic view that makes you feel 14th and R is the heart of the city. There is a sense of feeling alive and being seen by the world.
“Visibility has always been critical,” Kaplan says. “Progress is not a straight shot … and I think that anything that anyone can do whether it is as grand as creating LIZ so prominently or just introducing yourself to a stranger, I think all of those things matter.”
The tour ends outside near two platforms for rotating art exhibitions. One platform located near a newly installed set of benches, holds a sculpture by British-Nigerian artist Yinka Shonibare CBE.
His work simulates the movement and feel of cultural fabrics as a metaphor for multilayered identities.
“It’s about the fluidity of one’s identity,” Blanchon says. “And dealing with the fact that we identify or see and express ourselves differently in different settings.”
A growing sense of identity and self-awareness among the trans community is the next challenge that Blanchon says Whitman-Walker is ready to take on.
“They have so many needs,” he says. “Similarities exist between the trans community and the HIV epidemic of the early days with discrimination, stigma and bias at the forefront of this war. … There isn’t a whole lot of social science research about what it means to be transgender in America. So, we’re learning as we go.”
But one major break with the past is Whitman-Walker’s decision not to hide in secrecy during this new fight.
“We are thrilled to be back in this location,” Blanchon says. “When people have suppressed who they are, there tends to be physical, spiritual and mental health issues when we are not true to ourselves. And art has been a way to help us through that.”
a&e features
Memorial for groundbreaking bisexual activist set for May 2
Loraine Hutchins remembered as a ‘force of nature’
The Montgomery County Pride Center will host a celebration honoring the life and legacy of Loraine Hutchins, Ph.D., on May 2. People are invited to attend the onsite memorial or a livestream event. The on-site event will begin at 10 a.m. with a meet-and-greet mixer before moving into a memorial service around the theme “Loraine a Force of Nature!” at 11 a.m., a panel talk at 12 p.m., break out sessions for artists, academics, and activists to build on her legacy at 1 p.m. and a closing reception at 2 p.m.
Attendees are encouraged to register for the on-site memorial gathering or the livestreamed memorial. The goal of this event is also to collect stories and memories of Loraine. Attendees and others can share their stories at padlet.com.
An obituary for Hutchins was published in the Bladelast Nov. 24, where people can learn more about her activism in the bisexual community. A private service for friends and family was held in December but this memorial service is open to all.
Alongside her groundbreaking work organizing for U.S. bisexual rights and liberation including co-editing “Bi Any Other Name: BIsexual People Speak Out” (1991), she also integrated faith into her sexual education and advocacy work. Her 2001 doctoral dissertation, “Erotic Rites: A Cultural Analysis of Contemporary U.S. Sacred Sexuality Traditions and Trends,” offered a pointed queer and feminist analysis to sex-neutral and sex-positive spiritual traditions in the United States. Her thesis was also groundbreaking in exploring the intersections between sex workers and those in caregiving professionals, including spiritual ones.
In an oral history interview conducted by Michelle Mueller back in August 2023, Hutchins described herself as a “priestess without a congregation.” While she has occasionally had a sense of community and feels part of a group of loving people, she admitted that “I don’t feel like we have the shape or the purpose that we need.”
“I’ve often experienced being the Cassandra in the room, the Cassandra in the community. Somebody who’s kind of way out there ahead, thinking through the strategic action points that my community hasn’t gotten to yet, and getting a lot of resistance and hostile responses from people who are frightened by dissent and conflict and not ready for the changes we have to make to survive,” she said.
“For somebody who’s bisexual in an out political way and who’s been a spokesperson for the polyamory movement in an out political way, it’s very exposing. And it’s very important to me to be able to try to explain and help other people understand the connection between spirituality and sexuality,” she explained citing how even as a graduate student she was “exploring how to feel erotic and spiritual, and not feel them in conflict with each other in my own spiritual contemplative life and my own sensual body awareness of being alive in the world.”
“Every religion has a sense of sacred sexuality. It’s just they put a lot of boundaries and regulations on it, and if we have a spiritual practice that is totally affirming of women’s priesthood and of gay people, queer people’s ability to minister to everyone and to be ministered to be everyone, what does that do to the gender of God, or our understanding of how we practice our spirituality and our sexuality in community and privately?”
“There’s no easy answer,” she concludes, and she continued to grapple with these questions throughout her life, co-editing another seminal text, “Sexuality, Religion and the Sacred: Bisexual, Pansexual, and Polysexual Perspectives,” published in 2012. Her work blending spiritual and queer liberation remains groundbreaking to this day.
Rev. Eric Eldritch, a local community organizer and ordained Pagan minister with Circle Sanctuary who has worked for decades with the DC Center’s Center Faith to organize the Pride Interfaith Service, is eager to highlight this element of her legacy at the memorial service next month.
a&e features
Queery: Meet artist, performer John Levengood
Modern creative talks nightlife, coming out, and his personal queer heroes
John Levengood (he/him) describes himself as a modern creative with a wide‑ranging toolkit. He blends music, technology, civic duty, and a sharp sense of wit into a cohesive artistic identity. Known primarily as a recording artist and performer, he’s also a self‑taught music producer and software engineer who embodies a generation of creators who build their own lanes rather than wait for one to appear.
Levengood, 32, who is single and identifies as gay and queer, is best known as a recording artist who has performed at Pride festivals across the country, including the main stages of World Pride DC, Central Arkansas Pride, and Charlotte Pride.
“Locally in the DMV, I’m known for turning heads at nightlife venues with my eye-catching sense of style. When I go out, I don’t try to blend in. I hope I inspire people to be themselves and have the courage to stand out,” he says.
He’s also known for hosting karaoke at Freddie’s Beach Bar in Arlington, Va., on Thursday nights. “I like to create a space where people feel comfortable expressing themselves, building community, and showcasing their talents.”
He also creates social media content from my performances and do interviews at LGBTQ+ bars and theatres in the DMV. Follow the Arlington resident @johnlevengood.
How long have you been out and who was the hardest person to tell?
I have been fully out of the closet since 2019. My parents were the hardest people to tell because my family has always been my rock and at the time I couldn’t imagine a world without them. Their reactions were extremely positive and supportive so I had nothing to fear all along.
I remember sitting on the couch with my mom, dad, and sister in our hotel room in New Orleans during our winter vacation and being so nervous to tell them. After I finally mustered up the nerve and made the proclamation, I realized my dad had already fallen asleep on the couch. My mom promised to tell him when he woke up.
Who’s your LGBTQ hero?
My LGBTQ heroes are Harvey Milk for paving the way for gays in politics and Elton John for being a pioneer for the fabulous and authentic. My local heroes in the DMV are Howard Hicks, manager of Green Lantern, and Tony Rivenbark, manager of Freddie’s Beach Bar. Both of them are essential to creating spaces where I’ve felt welcome and safe since moving to the DMV.
What’s Washington’s best nightspot, past or present?
Trade tops the list for me because of the dance floor and outdoor space. It’s so nice to get a break from the music every once and a while to be able to have a conversation.
We live in challenging times. How do you cope?
I’m still figuring this out. What is working right now is writing music and spending time with family and friends. I’ve also been spending less time on social media going to the gym at least three times a week.
What streaming show are you binging?
After “Traitors” Season 4 ended, I was in a bit of a show hole, but “Stumble” has me in a laughing loop right now. The writing is so witty.
What do you wish you’d known at 18?
At 18, I wish I would have known how liberating it is to come out of the closet. It would have been nice to know some winning lottery numbers as well.
What are your friends messaging about in your most recent group chat?
We are planning our next trip to New York City. If you can believe it, I visited NYC for the first time in 2025 for Pride and I’ve been back every quarter since. Growing up in the country, I was subconsciously primed to be scared of the city. But my mind has been blown. I can’t wait to go back.
Why Washington?
It’s the closest metropolitan area to my family, but not too close. I love the museums, the diversity, the history, and the proximity to the beach and mountains. It’s also nice to live in a city with public transportation.
Aging RFK Stadium has come down, but the RFK grounds are still getting lit up. Welcome back to the stage Project GLOW, D.C.’s homegrown electronic festival, on May 30-31. Back for its fifth year on these musically inclined acres, Project GLOW returns with an even more diverse lineup, and one that continues to celebrate LGBTQ antecedents, attendees, and acts.
Project GLOW 2026 headliners include house and techno star Mau P, progressive house legend Eric Prydz, hard-techno favorite Sara Landry, and bass acts Excision b2b Sullivan King, among the lineup of trance, bass, house, techno, dubstep, and others for the fifth anniversary year.
President & CEO Pete Kalamoutsos — born and raised in D.C. — founded Club GLOW in 1999. In 2020, GLOW entered into a partnership with global entertainment company Insomniac Events to produce live events like Project GLOW, which kicked off in 2022.
As in past years, Project GLOW not only makes space, but is intentionally inclusive of the LGBTQ community, one of its most dedicated fan bases. The festival’s LGBTQ-focused Secret Garden stage blooms again — a more intimate dance area that stands on the strength of DJs and musicians who draw from the LGBTQ community. D.C.’s LGBTQ nightlife mastermind Ed Bailey is the creative mind behind Secret Garden again. He joined Project GLOW in 2023.
“Kalamoustos says that “he’s proud of his partnership with Ed Bailey, along with Capital Pride and [nightlife producer] Jake Resnikow. It’s amazing to collaborate with Bailey at the Secret Garden stage, especially after the curated lineup we worked on at Pride last year.”
The Secret Garden will be a bit different from other stages: Eternal (“At the Eternal stage, time stands still. Lose yourself in the dance of past, present, and future, surrendering to the eternal rhythm of the universe”) and Pulse (“Feel the rhythm of the beat pulse through your veins as the heartbeat of the crowd synchronizes into one. Here, every moment vibrates with life as it guides you through a new dimension of euphoria”). The Secret Garden stage is in the round, surrounded by 16 shipping containers. The containers play canvas to muralists from around the world, who are coming in to paint them in a vibrant garden-style vibe. “We gave this stage some extra love with this layout,” K says, “ we finally cracked the code.”
K says that this will be the biggest lineup yet for the Secret Garden, featuring Nicole Moudaber b2b Chasewest, Riordan b2b Bullet Tooth, Ranger Trucco, Cassian, Eli & Fur, Cosmic Gate and Hayla. The stage is also the largest yet, featuring an expanded dance floor and 360-degree viewing.
Across all stages, K says that his goal for the fifth anniversary is “More art and fan interactive experience, more like a festival, strive to be like a Tomorrowland, as budget grows to add more experience.” Last year’s Project GLOW alone drew 40,000 attendees over two days.
K, however, was not satisfied with one festival this spring. GLOW recently announced a “pop-up” one-day event. Teaming up with Black Book Records, GLOW is set to throw a first-of-its-kind dance-music takeover of Pennsylvania Avenue, N.W., headlined by electronic music star Chris Lake. Set for April 18, this euphoric block party will feature bass and vibes blocks from the White House. Organizers expect as many as 10,000 fans to attend. Beyond music, there will be food, activations, and plenty of other activities taking place around 6th St and Pennsylvania Ave NW – a location familiar to many in the LGBTQ community, as this sits squarely inside the blocks of the Capital Pride party that takes place in DC every June.
Over the past two decades, Club GLOW has produced thousands of events, from club nights to large-scale festivals including Project GLOW, Moonrise Festival, and more. Club GLOW also operates Echostage.
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