For the 2016 Day With(out) Art, Visual AIDS commissioned COMPULSIVE PRACTICE, a video compilation of compulsive, daily, and habitual practices by nine artists and activists who live with their cameras as one way to manage, reflect upon, and change how they are deeply affected by HIV/AIDS. This hour-long video program was distributed internationally to museums, art institutions, schools and AIDS organizations.

Through an experimental collage of video and pictographs, (eye, virus) explores how conversations around disclosure, stigma, and harm reduction shift across generations and from public to private realms. Combining street interviews with footage from a punk show and a mobile testing site, the video centers pleasure and community as it expands the conversation around HIV to include hepatitis C and the opioid epidemic. (eye, virus) extends from documentation of a 2017 public program titled AIDS OS Y Version 10.11.6, and is collaboratively produced with Nikki Sweet. Commissioned by Visual AIDS in 2019 as part of STILL BEGINNING, a program of seven short videos responding to the ongoing HIV/AIDS epidemic.

Lucía Egaña Rojas challenges gendered representations of HIV and AIDS, investigating what Lina Meruane has termed “female disappearance syndrome”—the erasure of women living with HIV from conversations about the epidemic. Commissioned by Visual AIDS in 2020 as part of TRANSMISSIONS, a program of six new videos considering the impact of HIV and AIDS beyond the United States.

Me Cuido (I take care of myself/I’m careful) questions the relationship between colonial paradigms of health, religious guilt, and the stigmatization of people living with HIV in the context of Chile’s capitalist and neoliberal regime. Commissioned by Visual AIDS in 2020 as part of TRANSMISSIONS, a program of six new videos considering the impact of HIV and AIDS beyond the United States.

Through a chorus of voices, Steed Taylor explores the difficulties of being a long-term AIDS survivor and the unexpected health problems facing many senior survivors. Commissioned by Visual AIDS in 2021 as part of ENDURING CARE, a program of seven new videos highlighting strategies of community care within the ongoing HIV epidemic.

I Remember Dancing brings together an intergenerational cast of "trans and queer gaysians" ruminating on the past and future of AIDS, activism, gay culture, love, and (un)safe sex. Inspired by Joe Brainard’s I Remember poems, these confessions illuminate perspectives of queer Asian communities often absent from whitewashed narratives of HIV and AIDS. Grief, regret, longing, risk, and pleasure surface as their memories and fantasies blur into one another. Commissioned by Visual AIDS in 2019 as part of STILL BEGINNING, a program of seven short videos responding to the ongoing HIV/AIDS epidemic.

The Sero Project is a U.S.-based network of people living with HIV (PLHIV) and allies fighting for freedom from stigma and injustice. Sero is particularly focused on ending the inappropriate use of one's HIV status in criminal prosecutions of PLHIV, including for non-disclosure, potential or perceived HIV exposure or HIV transmission. The 2018 conference, co-produced with Positive Women’s Network-USA, included a showcase of visual art and poetry made by advocates working against HIV criminalization. Commissioned by Visual AIDS in 2018 as part of ALTERNATE ENDINGS, ACTIVIST RISINGS, a program of short videos from six inspiring community organizations and collectives that highlights the impact of art in AIDS activism and advocacy today.

A chronicle of Abdul-Aliy A. Muhammad’s 2017 medication strike against the Mazzoni Center, a LGBT health clinic in Philadelphia, and the direct action campaign by the Black and Brown Workers Cooperative that preceded it Commissioned by Visual AIDS in 2021 as part of ENDURING CARE, a program of seven new videos highlighting strategies of community care within the ongoing HIV epidemic.

In evidence, Julie Tolentino’s naked, moving body articulates backward on her hands and knees, balancing a cluster of Asian medicine cups. The piece, originally made in 2010 in collaboration with Abigail Severance, was remixed for Visual AIDS in 2014. Tolentino's self-made sound piece was added and initiates the video with a queer list of loved ones living and lost, recognizable or not, as both invocation and provocation of individuals who deeply shifted her perspective. As the listed names blur and are archived in Tolentino's body, evidence opens up to the list's potency through a female, brown, artist/activist body in the unseen yet held spaces of relationship, memory, sex and loss. Commissioned by Visual AIDS in 2014 as part of ALTERNATE ENDINGS, a program of seven videos that bring together charged moments and personal memories amidst the public history of HIV/AIDS.

Positive Women’s Network – USA (PWN) is a national membership body of women living with HIV and allies that exists to strengthen the strategic power of all women living with HIV in the United States. In this video, women reflect on how collective creative projects have helped them create comfortable, intimate spaces where they can build community and provide support for each other while also working to advocate for changes that improve lives and uphold rights. Commissioned by Visual AIDS in 2018 as part of ALTERNATE ENDINGS, ACTIVIST RISINGS, a program of short videos from six inspiring community organizations and collectives that highlights the impact of art in AIDS activism and advocacy today.

Two fragmented interviews with artists living with HIV in Puerto Rico mediate an audiovisual invocation of the late Boricua poet Manuel Ramos Otero who passed away from complications of the virus in 1990. Guerra sets out to translate work Manuel deemed untranslatable, investigating the ongoing passions that informed his work. Commissioned by Visual AIDS in 2021 as part of ENDURING CARE, a program of seven new videos highlighting strategies of community care within the ongoing HIV epidemic.

Working with artists, curators, and art institutions on a national and international scale, Visual AIDS has never stopped commissioning and distributing projects at the intersections of art, AIDS and activism. Visual AIDS uses art to combat AIDS by provoking dialogue, supporting HIV-positive artists, and preserving a legacy, because AIDS is not over. To introduce ALTERNATE ENDINGS, ACTIVIST RISINGS, Visual AIDS reflects on its thirty years of fighting AIDS with the power of art. Commissioned by Visual AIDS in 2018 as part of ALTERNATE ENDINGS, ACTIVIST RISINGS, a program of short videos from six inspiring community organizations and collectives that highlights the impact of art in AIDS activism and advocacy today.

Viva Ruiz invites transgender AIDS activist, artist, and beloved friend Chloe Dzubilo (1960–2011) to speak via never before seen Hi-8 footage filmed by Chloe's then-partner Kelly McGowan in the 1990s. The process triangulates mother (Chloe), lover (Kelly), and child (Viva) in a deliberate ritual to uplift the spirit and legacy of an ancestral teacher. Through artifacts from the moment when video first became accessible and before mobile phone cameras became ubiquitous, we witness Chloe declare herself and her sisters as leaders in art, advocacy and culture for evermore. Commissioned by Visual AIDS in 2019 as part of STILL BEGINNING, a program of seven short videos responding to the ongoing HIV/AIDS epidemic.

STONES & WATER WEIGHT responds to the need for new interpretations of HIV+ people. Mykki Blanco completes tasks that test the physical capabilities of the body and the boundaries of normative health to challenge society's perception on the fragilities of those who survive with the virus. In this era of globalized fitness culture through the use of social media, "looking healthy" matters much more than actually being healthy. Using endurance as the motivation for the performance, the video creates a new perception of HIV+ people as strong and resilient. Research references include the Atlas myth, the god of endurance that holds the earth and the skies over his shoulders, as well as the never ending climb of the Sisyphus myth. Commissioned by Visual AIDS in 2017 as part of ALTERNATE ENDINGS, RADICAL BEGINNINGS, a program of seven videos prioritizing Black narratives within the ongoing AIDS epidemic curated by Erin Christovale and Vivian Crockett for Visual AIDS.

In the Future tells the stories of people living with HIV in Mexico who have been unable to access treatment because of government corruption and widespread theft and looting of medication. Commissioned by Visual AIDS in 2021 as part of ENDURING CARE, a program of seven new videos highlighting strategies of community care within the ongoing HIV epidemic.

Lyle Ashton Harris' Selections from the Ektachrome Archive 1986–1996 is a snapshot from 1986–1996, chronicling the moments—now memories—of this charged decade.This selection features over one hundred images taken by Harris from his extensive archive of Ektachrome photographs. In Selections from the Ektachrome Archive 1986–1996, bedroom scenes and personal mementos punctuate public presentations and social gatherings, as a register of Harris' life during the height of the AIDS crisis and its impact. Moreover, this archive takes the temperature of America’s recent past and charts its radical epistemological shifts. Commissioned by Visual AIDS in 2014 as part of ALTERNATE ENDINGS, a program of seven videos that bring together charged moments and personal memories amidst the public history of HIV/AIDS.

Much handled things are always soft unearths the unwritten and undocumented histories of public sex culture in the south-side of Chicago. Through conversation with longterm survivor Patric McCoy, the film traces the height of activity in the 1970s, the downfall of cruising culture in the 1980s, and the prevailing summer heat, which continues to linger. Together, McCoy and Woods-Morrow reflect on their relationship to cruising, to photography, and to each other; attempting to bridge the gap between what was, and what still remains to be explored. Commissioned by Visual AIDS in 2019 as part of STILL BEGINNING, a program of seven short videos responding to the ongoing HIV/AIDS epidemic.

A collaborative video project made with women living in Taiwan who use their cameras to process stress and stigma, and to share their experiences living with HIV. Commissioned by Visual AIDS in 2021 as part of ENDURING CARE, a program of seven new videos highlighting strategies of community care within the ongoing HIV epidemic.

For 7 Years Later, Glen Fogel visited his ex-boyfriend Nathan Lee in Providence, RI and videotaped a conversation between the two of them. They discuss the events that led to their breakup 7 years ago, while a robotic camera autonomously scans the apartment. The video is edited to look as though it is a seamless single take, a time warp in which Fogel and Lee appear in multiple places in the apartment at the same time. Commissioned by Visual AIDS in 2014 as part of ALTERNATE ENDINGS, a program of seven videos that bring together charged moments and personal memories amidst the public history of HIV/AIDS.

The Lie is the latest in an ongoing series of short films by Carl George drawing on found footage and materials from the artist’s archive. Offering “ruminations on ruined nations,” the film aims to expose the links between war, AIDS, capitalism, and the persistent mythologies that bind them all. Commissioned in by Visual AIDS in 2019 as part of STILL BEGINNING, a program of seven short videos responding to the ongoing HIV/AIDS epidemic.