The hippie era of 1960s America was defined by free thinking, radical self-expression, and a rejection of the status quo. Like-minded individuals came together to reimagine the concept of the family unit — united not by blood, but by shared values and worldviews. Among the many alternative communities that emerged in California during this time was The Cockettes, an avant-garde, San Francisco-based theater troupe. This eccentric collective of artists and performers became known for their flamboyant appearance, fluid approach to gender expression, and wild antics both on and off the stage.

On November 7, 1971, The Cockettes made their New York debut with a three-week residency at the Anderson Theater. Anticipation for their arrival was electric, with A-list celebrities eager to experience the troupe’s infamous performances. But the opening night proved disastrous: their chaotic, improvised style failed to resonate with the East Coast audience — so much so that Andy Warhol reportedly walked out mid-show. The fallout led to the group’s eventual breakup, though it also launched several solo careers, most notably that of disco pioneer Sylvester.

By this time, photographer Leonard Freed had already established himself as a documentarian of those living on the margins of American society. His work throughout the 1960s, particularly on the Civil Rights Movement, as seen in the landmark publication Black in White America (1969), reflected a deep commitment to exploring issues of social injustice and inequality through the lens of his camera. In the wake of the 1969 Stonewall Riots in New York, Freed became increasingly interested in those who felt newly empowered to live openly in a society beginning — however slowly — to reevaluate its views around gender and sexuality. The Cockettes, in many ways, embodied this cultural shift: a group that refused to conform, unapologetically embracing their identities in defiance of conventional expectations. Freed saw in them not only performance, but protest.