Over the last two decades, red umbrellas have increasingly appeared in campaigns to end violence against sex workers, oppose harmful legislation, advocate for decriminalization, commemorate lost community members, and broadly express sex worker pride. Originating with the work of the artist/activist Tadej Pogačar and the P.A.R.A.S.I.T.E. Museum of Contemporary Art’s contribution to the 2001 Venice Biennale (“The Prostitute Pavilion”), red umbrellas were originally presented as a visual symbol of self-help, organization, and protection for sex workers. Since then the red umbrella has been adopted and adapted to a broader range of meanings related to sex worker activism, including decriminalization, opposition to antitrafficking discourse, and more. The umbrella has also come to convey the “big tent” concept—that all sex workers are together under its canopy, unified as one coalition. But like any symbol, the red umbrella’s use has limitations. The red umbrella risks amplifying negative rhetoric employed by the antitrafficking movement, which casts sex workers as passive victims in need of salvation, or of oversimplifying a complex, multifaceted political movement. The Curated Spaces section of this issue presents a brief history of the red umbrella as a symbol for sex workers’ rights and images that demonstrate its varied uses.

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Micah Bazant, campaign poster for We Stand with Monica Jones, ca. 2013–14. (Inset image, above, alternate poster also by Bazant.)