MACK publishes Sex, Clubs, Dissent: Visualising Queer Nightlife in May 2026: 284 pages, 24 by 28 centimetres, a paperback with a die-cut cover. The editor is Amelia Abraham, a journalist and author whose subject has long been queer life and its politics. This is an anthology, not a monograph; its images come from many hands.

The book takes up a question at once historical and intimate: what have photography and film done for queer nightlife, and what have they done to it? Image-making has helped clubs, subcultures and forms of resistance take shape and hold on; it has also, at moments, put them in jeopardy. A picture of a dancefloor, a sauna or a strip club can function as a statement of presence, but it may equally be erotic, funny, alienating, violent or wildly joyful — and no image circulates innocently.

Instead of a chronology or a complete catalogue, the book builds an argument from decades of work by photographers, filmmakers and artists — more than eighty of them, by one account — set alongside essays and conversations from a long roster of writers and artists, among them Brontez Purnell, McKenzie Wark, Jack Parlett, Tavia Nyong’o, Legacy Russell, Tourmaline, and Abraham herself.

That editorial shape is where the book’s weight lies. It asks what our decades-long urge to catalogue nightlife reveals about our own attachments to those rooms, and it keeps pleasure, politics and protest inside a single frame rather than sorting them apart.

For a collector, this is a substantial survey in a generous format, with space for writing to sit beside the plates. Its claim on your attention is the scope of the gathering and the questions it insists on raising — questions posed to readers rather than settled for them.