In his 2002 book L’image Survivante: Histoire de l’Art et Temps des Fantômes selon Aby Warburg, Didi-Huberman maintains that Warburg has been too easily discredited in Art History and that his idea of Nachleben (survival) is important to understand the multiple layers of meanings of an image. This paper argues that using Nachleben, historians could not only look at the visual intellectual history of the triangle, but also reconcile visual culture with Koselleck’s idea of the contemporaneity of the non- contemporaneous. Mixing Warburg and Koselleck, it is possible to make a visual conceptual history of the triangle’s multiple layers of meaning. In that sense, this paper examines the Nachleben of an indexical and symbolic image with Nazi origins, recuperated by various factions of the New Left in a transatlantic and transnational perspective, only to be ironically rediscovered by homonationalist groups at the turn of the millennium. Using present day groups like the US-American Pink Pistols and a critical approach to identity politics, this paper maps the links between the importance of queer temporalities, a future oriented form of activism and homonormativity.