Dark Mode

About Days of Rage

Days of Rage is a web exhibition that enlivens historical activist posters from ONE Archives at the USC Libraries through tactile analysis and storytelling. Grounded in the experiences of activists and graphic designers Alan Bell, Daniel Hyo Kim, Chandi Moore, Silas Munro, Judy Ornelas Sisneros, and Jordan Peimer, the exhibition positions LGBTQ+ graphic design as embodied in community realities and histories, producing subjective reflections on the interdependence of design and activism. In assembling the exhibition, these community experts chose five posters from the recently digitized poster collection at ONE Archives at the USC Libraries. Over a sequence of stylized videos that emphasize the choreography of their hands, the invited experts reflect on their selections, allowing the posters to guide ruminations on design language, community responsiveness, erasure and history, and the affiliative force of activist politics. Their hands, voices, and memories serve as interpretive guides in transmitting knowledge, thereby queering the mode in which graphic design is displayed–which is so often static and wall-bound. From bold graphic declarations of community activation to explicit safer sex health campaigns, the posters discussed run the affective gamut, bringing up powerful feelings of rage, joy, and sorrow. Days of Rage privileges this associative and sometimes aleatory interpretation of design, and finds profound value in its capacity to serve as a roiling, continuous link to a shared sense of LGBTQ+ ancestry and struggle.

The exhibition is curated by Andy Campbell, Associate Professor Critical Studies at the Roski School of Design, University of Southern California (USC), and co-curated by Tracy Fenix and Austen Villacis, current students in Roski’s Curatorial Practices and the Public Sphere graduate program.

This project is organized by One Institute, made possible by a grant from Los Angeles County Department of Arts and Culture. The digitization of over 4200 posters in ONE’s collections was made possible by a grant from the Council on Library and Information Resources’ Digitizing Hidden Collections program.

About One Institute

Founded in 1952, One Institute is the oldest active LGBTQ organization in the United States, and is dedicated to telling the accurate stories and history of all LGBTQ people and their culture. As an independent nonprofit, One Institute promotes ONE Archives at the USC Libraries — the largest repository of LGBTQ materials in the world — and provides innovative educational initiatives, public exhibitions, and community programs. The curatorial and educational choices made by One Institute are guided by our commitment to social equity and justice. We engage with the complexity of LGBTQ history and representation through highlighting the intersectional and authentic narratives of Black, Indigenous, people of color (BIPOC), women, gender-nonconforming and transgender people, people of various abilities, youth, and elders across all socio-economic classes.


About Protest Sign Font

The Protest Sign Font utilized on the Days of Rage exhibition website is created by GenderFail. GenderFail is a publishing, programing and archiving platform run solely by Be Oakley. The font is licensed for noncommercial usage.


Our sponsors

Thanks to


For inquiries about the exhibit, contact Umi Hsu, Director of Content Strategy at One Institute.

Color Coded

Designer: Gay Men of Color Consortium and the Los Angeles Center for Photographic Studies
Year: 1995
Dimesions: 45 x 57 cm

Color Coded was a collaboration between the Gay Men of Color Consortium (GMOCC) and the Los Angeles Center for Photographic Studies (LACPS), with support from LA County, to educate the public, particularly men of color, about HIV/AIDS. These posters assume a gay male audience, centering isolated images of men of color in gay safer-sex encounters. Each poster illustrates a different setting: outdoor cruising grounds, a bathhouse (the Hollywood Spa), and a bedroom. Often the photographic images in the posters are placed in sequence, indicating that they depict events unfolding over time. There is a self-reflexivity here, through both the depiction of participants filming themselves (Versatile products for the man with fluid identities), and in the form of the contact sheet-tableau (Color coded). Each poster importantly visualizes a condom as a key component of the sexual scene. Proposing the viewer as a fleeting voyeur of the safer-sex experience, these posters normalize and eroticize several messages simultaneously: love yourself, have safer sex, get tested, get treatment early.

Image: Joel Dykes, Greg Evans, Ron Singleton, “Color Coded: Love Yourself,” 1995. LGBTQ Poster Collection, ONE Archives at the USC Libraries.

Image: Cirilio Rayos Domine, Nguyen Tan Hoang, and Philip Pirolo, “Color Coded: Versatile Products for the Man with Fluid Identities,” 1995. LGBTQ Poster Collection, ONE Archives at the USC Libraries.

Image: Greg Evans, Richard Ramirez, Joe Smucks, “Color Coded: Untitled,” 1995. LGBTQ Poster Collection, ONE Archives at the USC Libraries.

Video title
Video title