But the heart of the gallery was the back room, which Aaron called “The Living Wall.” It wasn’t a permanent exhibit. Every month, he invited a single emerging or overlooked queer artist to fill the space entirely. No theme, no restrictions—just their truth.
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Aaron Tyler was fifty-three, with silver threading through his dark curls and reading glasses perpetually perched on his nose. He had opened the gallery ten years ago, after a long career as a curator at a major museum where he’d grown tired of fighting to have a single Marsden Hartley or a hidden Gluck pulled from storage. “They wanted queer art as a theme month,” he’d tell new visitors with a dry smile. “I wanted it as a permanent condition.” But the heart of the gallery was the
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