Maegan Beck (she/her/hers) is a queer writer, designer, and interdisciplinary artist based in Montréal / Tiohtiá:ke on the unceded ancestral lands of the Kanien'kehà:ka. Originally from Treaty 4 territory (Southern Saskatchewan), her work examines the intersections of memory, phenomenology, and the archive as it informs queer futurity through art historical and architectural research.

Earning a Master of Art History from Concordia University (’24), her graduate studies afforded her two Faculty of Fine Arts Graduate Fellowships and the Department of Art History’s Out-of-Province Award. Additionally, she holds a Bachelor of Fine Arts in Visual Arts from the University of Ottawa (’19) and completed the Microprogram in User Interface and Web Design (‘25) from Concordia University.

Her Master’s thesis, published in 2024, is titled Transcending Beyond the ‘Detectable’: Queer Mourning, Memory, and Futurity in Eric Rhein’s Lifelines. Focusing exclusively on the work of New York-based artist and writer Eric Rhein, this text emphasizes the importance of inter/transgenerational dialogues while considering the (non)linearity of queer temporalities (namely since the introduction of ARVs), critically (re)considering memories over histories as resistive modalities present in both curatorial and institutional settings. Considering the generative potentials of collective mourning, artistic activism, and queer resistance, her thesis considers the ways in which a living archive may facilitate the preservation of the artistic generation lost to HIV and AIDS while informing speculative futures and communities of belonging focused centrally on forging spaces and communities of care.

Building upon this theoretical framework, her design practice transforms art historical research into interactive, web-based projects. She is particularly interested in exploring liminality, decay, erasure, and temporality through digital media, creating narrative experiences that engage users with marginalized histories. Her most recent project, titled New York City’s Queer Piers (forthcoming), combines art historical research and interactive pathways following the practices of four artists that inhabited and appropriated these idiosyncratic artistic spaces, reflecting on the layered and interwoven histories of architectural sites. Intent on highlighting the ever-present need to consider collective memory though embodiment may no longer be possible, this interdisciplinary project offers a space for users to experience, reflect on, and contribute to the preservation of these foundational yet impermanent histories, giving form to what continues to persist in cultural consciousness, despite physical absence.