Salman Toor’s vibrant paintings have propelled him to international prominence, showcasing queer South Asian men in intimate, everyday settings—from bars and trippy parties to the back of taxis and pillow fights. Now, as the 43-year-old Pakistani-American artist prepares for his first solo exhibition in Europe at London’s Courtauld Gallery, he is reflecting on the significance of placing these figures at the center of the narrative.
Toor’s work deliberately counters years of demonization and erasure. In one notable portrait, a brown man appears apprehensive while facing customs officials, highlighting the anxieties that often accompany such experiences. “It excites me that the cuteness and sexiness of brown protagonists can become familiar,” Toor told The Guardian from his sun-drenched Brooklyn studio. “Their stories are not a gay side story in a family saga. It’s the main story. And everyone else is in the background.”
Beyond his personal practice, Toor has gained attention for painting Zohran Mamdani, a prominent figure in New York’s political landscape. The upcoming exhibition offers a chance for European audiences to engage with Toor’s bold reimagining of identity, desire, and visibility, set against the backdrop of what some are calling a “Muslim moment” in New York culture.
I’ve been following his work since the NYC days. Love that he treats these lives as the main story, not a subplot.
Is the Courtauld really the right fit for this content? Some feel traditional galleries still struggle to engage with such specific political narratives.
Finally, brown queer men aren’t just side characters. This visibility in a historic institution like the Courtauld is truly overdue.