In Europe, we are more conscious about sexual and gender diversity due to our social and policy context, but simultaneously a large percentage of parties are turning rightward. In other words, conservative policies are gaining traction and the queer collective is being threatened. Namely, the United Kingdom, where the law defines a ‘woman’ based on biological sex. That means that free gender self-determination is illegal. Hence, museological institutions are called to protect and promote LGBTIQ+ rights. It is not only about giving visibility to stories excluded so far, but questioning how normative frames are built from the structure and how museums widespreading and producing knowledge.

Over the years, even in countries considered progressive such as the Netherlands, LGTBIQ+ narratives were absent from museums. This invisibility has been supported by erratic ideas, including the thought that the queer community is not a marginalised collective in certain contexts, so a specific representation was not necessary. However, projects such as Queering the Collection have demonstrated that an active queer perspective is not only possible but necessary to truly build an inclusive heritage.

Exhibitions like What a Genderful World at the Tropenmuseum or Love Identity at the British Museum has explored several ways in which different cultures have understood and lived gender and sexuality over the years. Throughout this example, contemporary stereotypes are challenged and as a result, it offers a historical framework that legitimises and contextualises non-normative experiences. However, sometimes these narratives are still produced by institutional voices exclusively, without really integrating the communities’ experiences who should be represented.

Hence, a main urgent challenge is the real community representation in content production. Examples such as IHLIA LGBTI Heritage in collaboration with activists and artists show how museums could turn into spaces for dialogue and advocacy, beyond simple exhibition.

Another challenge is intersectionality. Very often, the LGTBIQ+ stories that are represented in museums follow a hegemonic model (white, cisgender, masculine), this excludes experiences of people raceless, or people with disabilities, or people of other religions.

Ultimately, the GSRD (Gender, Sexual and Relational Diversity) proposes as an emergent paradigm, museums must stop thinking in terms of ‘minority inclusion’ and start to tackle these questions as a structural part of their public mission. This means rethinking not only their content but also their management, language and relationship with the audience.

 Museological institutions have the power to influence culture, to legitimise testimonies and transform social imaginaries. In an interconnected world, museums not only could also must, assume an active role in the LGTBIQ+ right. Not as social change followers, but as agents who lead them.