In a poignant exploration of loss and resilience, Sage Ni’Ja Whitson, a Black nonbinary artist, has launched an evocative exhibition titled *These Walking Glories* at the California African American Museum in Los Angeles. This powerful showcase pays tribute to the lives of trans and gender-nonconforming individuals who have tragically lost their lives to violence or suicide between 2018 and 2025. Through intimate ceremonies and heartfelt installations, Whitson invites viewers to reflect on the ongoing epidemic of violence against marginalized communities, particularly Black trans lives.
A Journey of Remembrance
Between 2021 and 2025, Whitson undertook an extensive journey across 91 locations in 15 states, each marking a site of death for a trans, gender nonconforming, or intersex individual. The artist conducted personal ceremonies at each location, aimed at honouring the memories of those lost. “It was very challenging in ways that I’m continuing to mend from,” Whitson shared. “It is not ‘inexpensive’ on my body and spirit. That cost I knew would be there.”
In *These Walking Glories*, Whitson presents a series of 90 pedestals, each representing an individual they commemorated. Atop every pedestal rests a jar containing essences crafted from materials collected at the respective sites, alongside a velvet stole inscribed with the name of the deceased. Notably, two pedestals remain nameless, symbolising the countless individuals whose identities have been erased.
The Art of Healing and Witnessing
The height of the pedestals—each standing at precisely 61 inches—was a deliberate choice by Whitson, designed to encourage visitors to slow down and engage with the memorials. “I was thinking about the way that shrines in the Yoruba tradition are created,” they explained. “It was an important decision so that there would be a reverential distance.” This thoughtful approach reinforces the respect and dignity owed to each life being remembered.
As part of their practice, Whitson also performed rituals at each site, informed by their training in herbalism. These rites involved checking in with the land, collecting offerings of herbs and sage, and engaging in prayer or meditation—activities designed to invoke the spirit of those lost. “I developed protocol that was mostly repeated at each site, with variations based on what the spirit called at each space,” they noted.
However, this dedication to honouring the deceased was not without its risks. At one point, while paying tribute to Bonaire “Bonnie” Black in Atlanta, Whitson encountered a potentially dangerous situation, prompting a hasty departure. “I had to move quickly because I was afraid to be noticed by folks who were there to do their business,” they recounted. Such moments underscore the reality of navigating spaces where violence and discrimination are ever-present.
Building Community Through Storytelling
An integral part of Whitson’s practice is fostering dialogue within the local transgender communities. During their travels, they organised story-sharing circles, creating safe spaces for Black trans, gender nonconforming, and intersex individuals to share their narratives of survival. These gatherings often aligned with existing community resilience efforts, such as fundraisers and social events aimed at uplifting marginalized voices.
“It really became important that the work needed to celebrate the lives and stories of the living, while also honouring the losses,” Whitson reflected. This commitment to community engagement transformed their project into a network of support, highlighting the beauty of collective resilience in the face of adversity.
As Whitson’s ceremonies unfolded, the urgency of their work became increasingly apparent. The exhibition arrives at a time when systemic oppression against trans individuals is intensifying, with a concerning rise in violence and governmental efforts to erase trans identities. “Now when trans people are experiencing a government attempt to erase our identities, it’s another kind of death,” Whitson warned, voicing the fears and frustrations of countless individuals facing similar struggles.
A Commitment to Spiritual Vitality
*These Walking Glories* not only serves as a tribute but also as a catalyst for Whitson’s growth as an artist. Having participated in a residency at CAAM since 2022, they have embraced the challenge of honouring such profound loss while also looking forward to new artistic ventures. “This project for sure gifted me the courage to stand and commit to the vision of a work,” Whitson stated. “It called me to value the capital-C ceremony of the work.”
Cameron Shaw, executive director of CAAM, emphasised the significance of supporting such projects. “Supporting this work through CAAM’s residency programme reflects the Museum’s ongoing commitment to Black artistic practices that hold complexity, expand boundaries, and create frameworks for healing,” Shaw affirmed.
Despite the emotional and financial toll of their extensive travels, Whitson remains resolute in their mission. “Building the spiritual vitality of trans communities – of Black trans communities – is worthy work that’s important to our survival,” they asserted. “It’s work that I want to continue.”
*These Walking Glories* will be on display at the California African American Museum until 5 April 2026.
Why it Matters
In a world where the lives and stories of trans individuals are often overlooked or silenced, Sage Ni’Ja Whitson’s *These Walking Glories* stands as a vital act of remembrance and resistance. It not only honours those lost but also fosters community and resilience among the living. In a time of escalating violence and systemic erasure, such artistic endeavours remind us of the importance of visibility, solidarity, and the ongoing fight for justice. Through art, Whitson offers a powerful narrative that bridges past and present, shaping a future where every life is valued and remembered.
