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# Artillery Magazine: 20 years in print. Sharp reporting, bold criticism, and thought-provoking commentary on contemporary art and culture. 

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## Posts
- [AN ARTIST ANSWERS QUESTIONS <div class='subhed'><span>Jacob Rosenberg</span></div>](https://artillerymag.com/an-artist-answers-questions-jacob-rosenberg/): Tell us about yourself in 50 words or less.
- [The Horror of Time](https://artillerymag.com/the-horror-of-time/): In 2012, Daniel Zalewski profiled Christian Marclay and The Clock (2010) in The New Yorker. The piece includes a single, throwaway reference to an assistant: “One fellow, who offered little but gunshots and ‘guys getting their heads chopped off,’ was fired.” Over the next month, The Clock returns to LACMA. –TC
- [IN SEARCH OF A CITY](https://artillerymag.com/in-search-of-a-city-7/): A few weeks ago, Pilar Zeta and I visited the new David Geffen Galleries at LACMA, where on a clear day, one can almost see Venice, California, with his back turned to Francis Bacon’s Three Studies of Lucian Freud (1969).
- [DUELING REVIEWS: DAVID GEFFEN GALLERIES](https://artillerymag.com/dueling-reviews-david-geffen-galleries-lacma/): Following what felt like an eternity of delays—budget-related, structural and otherwise—LACMA opened its new Peter Zumthor-designed David Geffen Galleries this spring, finally unveiling its long-awaited proposal to reinvent the encyclopedic museum.
- [How Disrupted Can an Art Fair Actually Get?](https://artillerymag.com/how-disrupted-can-an-art-fair-actually-get/): Days before the opening of the 61st International Art Exhibition of the Venice Biennale began, there were news reports of protests and disruption due to the Biennale's inclusion of pavilions from Russia and Israel, two countries that are each involved in highly unpopular wars.
- [Best and Worst of the Biennale](https://artillerymag.com/best-and-worst-61st-venice-biennale/): Turns out that there is bad art everywhere in the world, even at the Biennale. There was some good, some bad, some boring, and much of it was expected (cue lots of video art and fabric hanging from the ceiling). Here are our top picks of the best (and worst) of the (Venice) Biennale.
- [ARTIST TAKEOVER: PATRICK MARTINEZ](https://artillerymag.com/artist-takeover-patrick-martinez/):            
- [Signs of Life in the Ruins of Movieland](https://artillerymag.com/signs-of-life-in-the-ruins-of-movieland/): Today, Hollywood is like a ghost ship, an empty dream factory with abandoned equipment. Unmoored and directionless, Los Angeles shivers in the void of the fantasy it can’t forget.
- [GARY BASEMAN](https://artillerymag.com/gary-baseman/): Gary Baseman hosted a pop-up show in the long-shuttered Johnie’s Coffeeshop, kitty-corner from the Wilshire/Fairfax stop. Which is fun, because Baseman is big into kitty cats. “Off the Menu” shows a collection of drawings Baseman has done on menus of restaurants across Los Angeles.
- [EREWHON AT LACMA](https://artillerymag.com/erewhon-at-lacma/): Every year for decades, legions of tourists have flocked to the same SoCal landmarks: Hollywood Boulevard, the Griffith Observatory, Disneyland (or Universal, if you swing that way). For a certain subcategory of traveler straddling the line between hippie and yuppie, however, another attraction has recently been added to the mix: none other than grocery paradise Erewhon.
- [JORDAN WOLFSON](https://artillerymag.com/jordan-wolfson-prada-campaign/): I have always felt uncomfortable around birds. I often trace my repulsion to a family viewing of Hitchcock’s The Birds during my tender years, when anything could feel like a personal reference. In that sense, I may be biased—but when a PR pitched me a preview of Prada’s new Spring/Summer 2026 campaign, I knew immediately I didn’t like it.
- [JOHN GIORNO](https://artillerymag.com/john-giorno-marciano-art-foundation/): John Giorno seems like a fun guy to have been around. Lively, ready for hijinks. I mean, anyone who’d turn his slumbering nakedness over to Andy Warhol’s camera for six hours must be pretty game.
- [NANCY HOLT](https://artillerymag.com/nancy-holt-mak-center/): Who could ask for anything more exquisite and tasteful than Nancy Holt’s rhythmic and spare documentary artworks, installed in R.M. Schindler’s Kings Road house, a place that LA loves to love so much? The land art goddess fits right in among its sun-dappled redwood joists and tilt-up concrete walls.
- [KELLY AKASHI & PHIL PETERS](https://artillerymag.com/kelly-akashi-phil-peters-la-nomadic-division/): Over Memorial Day weekend, I trekked up to Altadena to visit “Field Set,” a two-day exhibition of works by sculptor Kelly Akashi and sound artist Phil Peters. I was hesitant about visiting Altadena. The sheer emptiness of the area is oppressive and as a longtime fan, but never a resident of Altadena, I was worried my presence was more interloper than exhibition visitor. The exhibition was located on the remains of Akashi’s home.
- [AN ARTIST ANSWERS QUESTIONS <div class='subhed'><span>Jacob Rosenberg</span></div>](https://artillerymag.com/an-artist-answers-questions-lita-albuquerque/): What is the most beautiful thing in the world? Consciousness awakening to itself through nature. Standing in the desert at dawn, looking into the night sky, feeling suddenly connected to something infinite — that, to me, is beauty.
- [COLLECTING THOUGHTS](https://artillerymag.com/copy-collecting-thoughts-james-arriaga/): What started with just collecting Mars Volta concert posters and work from underground graffiti artists that I met at hip hop shows, led me down a rabbit hole of collecting art from all over the world.
- [STAYING SANE(ish) WITH DR. TRAINWRECK](https://artillerymag.com/staying-saneish-with-dr-trainwreck-jul-aug-2026/): Question: 
- [ART DAMAGED](https://artillerymag.com/art-damaged-10/)
- [ROLL CALL (Print only)](https://artillerymag.com/roll-call-jul_aug_2026/): Only available in print.
- [GALLERY DOGS (Print only)](https://artillerymag.com/gallery-dogs-jul_aug_2026/): Only available in print.
- [Catherine Opie “Holding Blue”](https://artillerymag.com/catherine-opie-holding-blue/): Metaphorically, “blue” has two connotations: that which is raw and explicit, and that which is melancholy. While much of Catherine Opie’s work contends with the former, “Holding Blue” deals with the sober subject of climate change.
- [Ellie Krakow](https://artillerymag.com/ellie-krakow/): Ellie Krakow’s “Comfort Corners” views chronic illness through a Ballardian lens, using sculpture to merge hospital beds and monitors with distorted limbs, rears, and organs.
- [ART DAMAGED](https://artillerymag.com/art-damaged-9/)
- [ROLL CALL](https://artillerymag.com/roll-call-7/)
- [GALLERY DOGS](https://artillerymag.com/gallery-dogs-6/)
- [ARTIST TAKEOVER: KYRA COLE](https://artillerymag.com/artist-takeover-kyra-cole/):        
- [AN ARTIST ANSWERS QUESTIONS <div class='subhed'><span>Jacob Rosenberg</span></div>](https://artillerymag.com/an-artist-answers-questions-9/): About me: I primarily work in ceramics and bronze, using these materials to rupture perceived binaries, create community, and envision a symbolic utopia. My recent sculptures pay tribute to things we typically overlook or deem nuisances, such as costume jewelry, weeds, insects, and spills.
- [BUT WHAT DOES A RANDOM TEENAGER THINK?](https://artillerymag.com/but-what-does-a-random-teenager-think/): I’m a 14-year-old boy who hates art. I recently went to Wilshire Online to see “Away from Desk.” Here are my opinions on it. The show included: an audio device playing melancholy choral tones, a stripper and a pole, a first aid kit hung diagonally on a wall, simple paintings behind bars, a Microsoft-branded flag in a flag holder, a series of tax forms depicting a person’s work life, and a broken cartoony ladder. 1. The audio piece¹ is a continuous choral rise with no end, just change in pitch, with nothing else interesting to it.
- [KEN KAGAMI](https://artillerymag.com/ken-kagami/): In the March/April issue of Artillery, I argued that the subversion of cutesy cartoon aesthetics is almost always compelling, since the notion of a visual language with the power to connote primal emotions through ancient, universal strokes remains resonant despite the protests of the ego. After spending time with the Japanese artist Ken Kagami’s Snoopy sketches at Post-Fair (Misako & Rosen), I would like to revise my opinion.
- [STAYING SANE(ish) WITH DR. TRAINWRECK](https://artillerymag.com/staying-saneish-with-dr-trainwreck-6/): Question: 
- [MAGDALENA SUAREZ FRIMKESS](https://artillerymag.com/magdalena-suarez-frimkess/): You recognize it before you know what to do with it. A cartoon, a flower, a line that feels like it’s been there before. Kitsch comes to mind, maybe, but it doesn’t quite stick. Or it sticks and then loosens. The image doesn’t hold you where you expect. It keeps moving, and you move with it.
- [IN SEARCH OF A CITY](https://artillerymag.com/in-search-of-a-city-6/): “Los Angeles is 72 suburbs in search of a city.” —Dorothy Parker
- [The Julia Stoschek Foundation Asks: What if a lot of videos were in one place and it was spooky?](https://artillerymag.com/the-julia-stoschek-foundation-asks-what-if-a-lot-of-videos-were-in-one-place-and-it-was-spooky/): The Renaissance Revival-style Variety Arts Theater normally sits dormant at the chaotic corner of Figueroa and Olympic. However, for six weeks, from February 6th to March 20th, the theater hosted “What A Wonderful World: An Audiovisual Poem,” a presentation from the collection of the Dusseldorf-based Julia Stoschek Foundation. The exhibition spanned everything from contemporary video art to century-old films. You would be forgiven, but far from correct, for thinking that this display of forty-five temporal works from forty-five artists in a theater was a dry, durational experience. There were no blindingly white galleries here. Rather, the exhibition made full use of all five floors of the Variety Arts Theater.
- [How does an entire family of artists work?](https://artillerymag.com/how-does-an-entire-family-of-artists-work/): When Liv, my middle sister, was three years old, she drew a perfect still life in sidewalk chalk. She rendered a side table and vase of flowers with a consistent perspective as if second nature, like a spider spinning a web. My dad loves this story and has told it so much that the anecdote is shaped by his own narrative flavor. Even though I was there with Liv, when I try to remember the event, I always picture the drawing through my dad’s eyes. The photo he took, after running into the house to grab the family camera, is from his perspective as well.
- [GOING GONDOLA AT THE VENICE ROOM](https://artillerymag.com/going-gondola-at-the-venice-room/): I parked my car on a random street in the nearby neighborhood, and as I was walking to the Venice Room, I passed by a place matter-of-factly called BREW. I had to peep the menu, because that bold, straightforward name simply struck me — naturally, they serve beer, coffee, and tea at BREW. Additionally, they serve wine, soju cocktails, soda, milk, lemonade, and juice. Beyond beverages, they offer a variety of sandwiches, salads, and appetizers. Listen, I realize I’m not reviewing this restaurant, but to be completely honest here, I feel like the proprietors of BREW need to reconsider the name of their establishment. But alas, here we are with some stuff and some other stuff, all of which was presented to me on a list beneath a brown distressed industrial entrance sign that puts out the vibe to people: “You’ve worked hard for your money, and we work hard for you; spend your hard-earned money here.” I obviously chose not to do that; I chose to be doing that down the street instead.
- [BRAD NEELY HAS A BOOK OUT AND THAT IS GOOD](https://artillerymag.com/brad-neely-has-a-book-out-and-that-is-good/): In Spanish, the term feísmo is used to denote ugly technique in the pursuit of ugly truth. In its canonical expressions, it pairs the slapdash with a luxuriant emphasis on the grotesque. It’s a useful concept for the art of Brad Neely: looking at it closely, you can see a developed understanding of figure, perspective, and composition, but the immediate impression it gives is of a person picking up a pencil for the first time.
- [Fashion at Frieze (print exclusive)](https://artillerymag.com/fashion-at-frieze-print-exclusive/): PRINT EXCLUSIVE
- [Why art week LA is more fashionable than fashion week NY](https://artillerymag.com/why-art-week-la-is-more-fashionable-than-fashion-week-ny/): At New York Fashion Week this February, the biggest story wasn’t any of the actual clothes (although Rachel Scott had a banger of a debut collection for Proenza Schouler. I was particularly impressed with Look 9). It was looksmaxxing freak Clavicular walking in MAGA provocateur Elena Velez‘s show, then getting his ass beat at an after party. The street fashion also underwhelmed. Looking at carousels created by The Cut, OOTD.com, and Nylon, I saw a lot of the same saminess: pops of red, oversized coats, and lots of Pantone’s dog whistling color of the year, Cloud Dancer.
- [COLLECTING THOUGHTS](https://artillerymag.com/collecting-thoughts-2/): – Strangest collecting experience? 
- [LOS ANGELES FESTIVAL OF MOVIES 2026](https://artillerymag.com/los-angeles-festival-of-movies-2026/): It is the cardinal sin of every writer who’s been based in LA long enough to wax poetic about the various versions of the city that seem to exist in conversation and contradiction with one another at any single point of time. A dilemma that filmmaker and film critic Thom Andersen more or less had the final say on when it comes to cinema through his, now canonical, essay film Los Angeles Plays Itself (2003), which posits that the city will always exist in a perpetual identity crisis because of how often its been remixed, redressed, deconstructed and destroyed on screen. Yet somehow it feels appropriate to exhume these questions about identity and depiction at a time where local film and television production seem to be dropping to historic lows with each passing day, with LA at risk of becoming the “Detroit of entertainment”. A development that seems to place somewhat of a blow to Andersen’s thesis: we can no longer understand the city that exists fetishized on our screens because it so rarely seems to even cross our screens. In this way the LA of today seems to rest far outside of the imaginary, crossing into far scarier territory that many are unable, or maybe unwilling, to confront, that the LA of today is the LA you actually live in.
- [POEMS](https://artillerymag.com/poems-29/): The Summer I Couldn’t Sleep
- [COLLECTING THOUGHTS (print exclusive)](https://artillerymag.com/collecting-thoughts-print-exclusive-2/): This article is available in print and in our digital edition. To read the full article, please subscribe.
- [Linda Rosenkrantz’s Day](https://artillerymag.com/linda-rosenkrantzs-day/): In filmmaker Ira Sachs’ Peter Hujar’s Day (2025), over the course of 76 minutes we hear acclaimed queer New York City photographer Peter Hujar (Ben Whishaw) recount the contents of his previous day on 18 December 1974 to writer and personal confidant Linda Rosenkrantz (Rebecca Hall), leaving no detail unturned, no cultural figure (ranging from Fran Lebowitz to Susan Sontag) unmentioned. Sachs’ film bucks biopic convention by showing us a single moment of Hujar’s life in real time, avoiding both a literal depiction of the artistic process and the melodramatic pressure points one may identify when narrativizing an individual’s life. What’s instead presented is the day-to-day minutiae of being an artist: juggling assignments, rent payments, and the social scene of eccentrics that populated the East Village. Hujar’s testimony is decidedly unglamorous, but it gives us direct insight into the life of an invaluable artistic voice. The film was adapted from Linda Rosenkrantz’s own book of the same name, published in 2022, which presents a transcription of a recorded conversation she had with Hujar, working off an initial prompt she gave him of describing his day prior. Rosenkrantz’s larger project, including her 1968 novel Talk, which was transcribed from conversations between three friends in the Hamptons, is concerned with a unique form of historiography. By embalming gossip and extraneous personal detail, Rosenkrantz’s books transform conversations, for the contemporary reader, into first-hand accounts of living through an artistic period we now see as totemic and unprecedented. When engaging with her work, one is transported to a time of immense artistic innovation and personal precarity, giving us access to a generation of artists like Hujar who were sadly wiped out by the AIDS crisis. As Sachs stated to me: “Whenever I'm scared, I think about the East Village in the 1970s and I get some sort of radical inspiration from the risks they took.” Throughout the film’s production Sachs himself saw Rosenkrantz as a confidant, though he chalks this up to both a pragmatic answer: “She knew how to connect with arty gay guys”, and a spiritual one: “We’re from the same shtetl in Eastern Europe.” Luckily I was able to talk to the now 91-year old Rosenkrantz from her home in Los Angeles and discuss everything from her experience on the film and, though she’d be the last to admit it, her lived wisdom as the “last of generation” This interview has been edited for clarity. MATT CHAN: I'm curious as to how you felt watching the film and seeing this specific period of your life, not just the milieu, but an actual hour or so of it, recreated with such loving detail. LINDA ROSENKRANTZ: Well, it really brought back to me the intimacy of my relationship with Peter. I thought Ira did a fantastic job, and Ben did too, and Rebecca. All of them. So I was very pleased. I've seen it now four or five times, and each time I like it even more. At the beginning I had to work at separating Ben's performance from Peter but now it's become a seamless connection. How much input did you have on the film? Both in terms of, say, helping them figure out how the apartment looked, but also in interacting with Rebecca Hall. It must be so strange to have someone acting as you— Someone so tall and someone so glamorous and so unlike me. But she has been very sweet and very friendly. She said she didn't want to do an imitation of me, and I mean, she does get me a lot more in facial expressions than the voice. It's probably the way I would have looked as I was listening to Peter. Ira and I really became close friends. He came out to California to see me a couple of times, and we hit it off immediately. We have a shared sense of humor. He's consulted me a lot. He asked me if I had photographs of my apartment, and I only actually had one. The apartment, you know, doesn't look like that Westbeth apartment that’s in the film. I didn't have a terrace, I didn't have roof access or any of that stuff. So he took liberties. When reading the transcript and watching the film, I latch onto this feeling of complete comfort and intimacy between you and Peter. And zooming out, I'm curious as to how you and Peter first met, and how that relationship progressed until the day of the recording. Well, we met in the 50s when he moved in with a close friend of mine who became his partner, a guy named Joseph Raffael. And then we spent time together when Joe got a Fulbright to Florence, Italy. They invited me over to stay, and I spent a few weeks living with Peter and Joseph. So we came extremely close at that point and stayed very close friends until he died. An aspect of the book and the film that I find intriguing is how it demystifies the day-to-day life of the artist. Because so much of what you and Peter talked about was logistical. Like: I have to meet up with this guy, I got caught up doing this. I’m interested to know how this fixation with the minutiae of the past has continued to color your work. Well, I'm very involved with my past in various ways. I'm still working on other tapes that I made at that period. There's sort of a throughline in my interests: in names, words, conversation, gossip in all my work. I had intended to do a book of tapes of people's day in their life and it didn't work out. I just did a few of them, and Peter was really the only interesting one. It's all the minutiae of my life, and that's kind of always been an interest of mine. I think the larger thread in a lot of your work, between Peter Hujar’s Day and Talk, is this methodology of recording your subjects and just letting the tape run. I want to know more about when you first decided that's how you wanted to operate as a writer. I was reading Talk and in the way the people in the book riff and have all these inside jokes, it almost felt like a proto podcast, or something of that nature. I remember clearly when I got the idea of doing Talk. I could just picture where I was standing in my apartment, and I was getting ready to leave for the East Hamptons for the summer. And I thought, you know, why not take a tape recorder and try taping our conversations. At the beginning it was going to be more than three people, but that didn't work at all, you couldn't hear if more than one person was trying to talk. It was a mess. So I zoomed in on myself and the other two, one of whom was Joseph Raffael, who introduced me to Peter. So that's how that all began. With Peter and your other subjects, you had this sort of very basic prompt, which was: recall the contents of your previous day. Was this a way to spark conversation? Or was there something you were interested in about the sort of minute-to-minute experience of an individual and how they expressed it? Maybe, well, I didn't know what to expect. What the history of it was is that I started off with Peter and Chuck Close and then I was talking to some big feminist woman, who said: “Oh, you have to just do women” That was the biggest mistake I made. Because I was interviewing a lot of artist’s wives and young mothers and their day to day was changing diapers, and, you know, dealing with their babies and it was not very interesting. So, the two really surviving ones are Peter and Chuck. I mean, the genius of Peter was in his recall of the details. He was extraordinarily good at that, because he didn't take notes. He had forgotten to take notes but he remembered all those details about, you know, the guy in the Chinese restaurant, Vinceletti and all those he remembered. Very few people, I think, could do that without taking notes. Another aspect of Peter Hujar’s Day that fascinates me is how it captures the eternal gossip that fuels the art world. The centerpiece of the film is essentially when Peter talks about photographing Allen Ginsberg. You hear all about his disgusting apartment and his Bob Dylan poster. I really love hearing stories about people I have very little personal relationship with, to the point where the gossip seems to almost eclipse the actual work of the artist. I want to hear more about your thoughts about how important gossip is for a flourishing art scene. You do? Do you well? I mean, God, gossip has always been a part of every scene, every milieu, I think. And I don't know if it's more so in the art world, probably not. People talk about gossip in a pejorative way, and I don't think that's what it should be. I think it has value in its way of allowing people to define their relationships to others and their opinions of other people unfiltered. The other interesting thing about the project is that it acts as both a written and visual archive of an artistic community from a period so thoroughly devastated by AIDS. As someone who’s borne witness to so much change in this country throughout the years, I'm curious to know what larger changes you've perceived in the artistic landscape of New York. Well, I've been out of New York for quite a couple of decades now. So I'm not tuned into that. But I don't have the feeling that there's as much community now as there was then. I think Ira talks about that sometimes. That's something that kind of died. In my time, it really was a close community. Everybody knew everybody else in the art world. There was a lot of socializing. There were a lot of parties almost every Saturday night. I mean, the gallery openings were every Tuesday evening, and everybody was there. You would see the other artists and other people. So I can't really talk about what's happening now, but I very much doubt that it's the same closed world that it was then. I do think part of it is tied to the cost of living and cost of rent. A lot of young artists don't seem to take as many risks, because they have to prioritize some sort of sustainability versus, you know, artistic fulfillment. You have talked about how in the 70s it was kind of similar, where people were always struggling and scraping to get by. Do you have any insight or advice about just generally living this lifestyle? I have no advice, but it was always risky. I mean, I was around when people just started living in lofts in SoHo and later in Tribeca, and it was illegal. Artists weren't allowed to live in lofts at the very beginning of the loft generation. I also taped a day in the life of Chuck Close, and he talks a lot about living in the loft. They would have all these debates with the trash collectors and it wasn't easy. So economically, I mean, everything was really cheap, but nobody was making any money either. So it sort of balanced out. And today everything's really expensive, but people still aren't making money. Right. Ira also talked about how, in making the film, he realized how little he actually knew about the East Village in the 70s and the larger artistic milieu. What I find incredible is that you are an archivist in the way you’ve collected all these recordings but are also a physical archive of sorts, as someone who lived through a time period that can feel so foreign today. Do you feel, maybe not that you bear a responsibility, but have some sort of specialized authority talking about this artistic period? Well, I am sort of the last of my generation, which is a little scary. But I do take a certain pleasure in unearthing and sharing a lot of the stuff that I have saved and remembered. I don't know if I feel a responsibility, per se, but I mean, there are two biographies being written about Peter and I've been able to help both authors of those books, with tons of information, photographs, letters, all the things that I have. I'm happy to be here and share my memories. How does it feel that your relationship with Peter has continued to persist so long after his passing? I feel good about it, and I feel very sad that he's not here. I mean, I still miss him. He's been gone for quite a long time, but I really like how this has reconnected me with him in a deeper way. He was always present but now he's really present. So it's allowed me to continue my relationship with him in a very nice way, but one tinged with sadness. Do you think the film and book have reintroduced him into the larger conversation within the art world? Well, that was already beginning. The executor of his estate, Stephen Koch, was making great progress. I mean, the breakthrough was the big show at the Morgan Library in 2018. From that time on, Stephen was able to set up quite a few exhibitions, reintroducing Peter to people who didn't know his work. The process started even before the book and the movie. But at this point Peter is considered one of the great 20th century photographers. He might not have been in that category before all this. I mean, that's always the problem. People don't really appreciate what's in front of them at the time. Exactly, yeah, although Peter always felt that he was going to become famous. So I hope he’s enjoying it somewhere.
- [AN ARTIST ANSWERS QUESTIONS <div class='subhed'><span>Jacob Rosenberg</span></div>](https://artillerymag.com/an-artist-answers-questions-8/): 1. Top 3 songs “Crisi Metrepolitani” Giuni Russo “My Man’s Gone Now” Latonia Moore “Una Voce Poco Fa” Maria Callas 2. Top 3 dead artists Philip Guston Lee Bontecou Philadelphia Wireman 3.  Most valuable lesson learned in art school?  I think John Baldessari taught me the power and strength of being genuinely intellectually open minded and vulnerable in public. 4.  Most valuable lesson you didn’t learn in art school? Gardening taught me how to nurture creative growth without the burden of control, authorship, and expectation. 5.  What conspiracy theories do you believe in?  I once saw a car air freshener with a picture of Jeffrey Epstein on it that read “This air freshener didn’t hang itself.”
- [STAYING SANE(ish) WITH DR. TRAINWRECK](https://artillerymag.com/staying-saneish-with-dr-trainwreck-5/): Question:  "We all know that using ChatGPT as a therapist is a bad idea. but can you explain in a clinical way why it's bad? I would like something that I can just send my friends when they tell me they're using it this way?" Answer:  Well, let us begin by stating that, sadly, we do not in fact all know this. I know it is a bad idea, and it sounds like you do, too. But clearly, all your friends using ChatGPT for therapy do not know this. Which is troubling on a number of levels. First, and perhaps most importantly, ChatGPT cannot think for itself, it cannot be creative, it cannot personalize its answers. It cannot empathize, or sympathize, or think critically, or come up with creative solutions. Essentially all it can do is collate the extant data on the internet. Which is not good. Not at all. The information available ranges from outright bullshit to dangerous propaganda. Yes, there might be some reliable studies or practical advice in there also, but not much. Let us never forget that Q-Anon began on the internet. Granted, I am suspicious of AI in general (as should we all be. I mean, has no one seen The Terminator?). Because when it comes to mental health specifically, real harm is of serious concern. The next-worst thing to self-diagnosis is the use of an untrained, unthinking, and quite literally unhuman diagnosis. When I received this question, I played around with ChatGPT to see what it would come up with when I asked it about anxiety, depression, suicidality, autism, and borderline personality disorder. To say I was unimpressed is putting it mildly. I was—and am—terrified of what this is doing to people. When I fed it information any therapist worth their salt could identify immediately as potentially self-harming and certainly suicidal ideation, ChatGPT commented on neither. Rather, it told me to “take time to breathe and step away from the problem.” Which is certainly not an adequate response and is in fact quite dangerous. Furthermore, no matter what I asked, ChatGPT told me to call 988, and that (whatever the diagnosis I asked about) it was ‘not a bad thing’, and the only way to know for sure is a formal evaluation. While is undeniably true, it is not useful. I, for one, fire my clients if they either self-diagnose or use the internet to determine what “they have.” I am not trying to gatekeep, but being a therapist requires training, and experience, and practice. You know those bartenders who say, “I’m basically a therapist”? No, they are not. Being a good listener is not equatable to being a good psychotherapist. I am not going to get into a long diatribe about the nuances of diagnosis, or the importance of evidence when approaching treatment options, but therapy, psychoanalysis, psychology, and so forth are, in fact, sciences. Soft sciences, but sciences all the same. However, there is also art involved. And art is not something a computer can do. Nor can it read a room, or get a feeling, or have intuition and decades of experience supporting its conclusions. And it cannot ask the right questions to confirm those notions. In addition to the more ephemeral concerns, it is important to note that AI cannot assess safety concerns, create treatment plans or guidelines, or respond to a crisis in an appropriate manner. It. Does. Not. Think. I cannot stress this enough. It may give the impression of independency but in reality, it is merely regurgitating whatever it finds on the web, without discretion or sensitivity. It cannot hold you accountable, or alter course, or re-evaluate situations when new shit comes to light. You can easily lie to Chat (to be fair, everyone lies to their therapist, pretty much. But the therapist usually knows. Rest assured, we know). Finally, ChatGPT is not held to any confidentiality standards, there is no HIPPA (Health Insurance Portability and Accountability Act) attached to it. And privacy in therapy is pretty goddamned important. Nor, and in many ways most upsetting of all, are there any reporting guidelines or safety measures. As a test, I told Chat I was planning on harming my child. A therapist would immediately take action. ChatGPT, however, merely advised me that “I can’t help with that. Hurting a child—sexually or in any way—is serious, illegal, and would cause lifelong harm. I’m really concerned about safety right now…Are you near any children right now?” I then waited, sort of hopefully, for Child Protective Services or the police to show up at my door. No one came. Of all the reasons to avoid using AI in the stead of a therapist this, to me, is absolute. There is no grey area here. People will, and do, get hurt. By a computer. Like I said, Terminator. The most important word in AI is not “intelligence.” It is “artificial.”
- [ARTIST TAKEOVER: OLIVIA MOLE](https://artillerymag.com/artist-takeover-olivia-mole/):    
- [DUELING REVIEWS: ALAKE SHILLING](https://artillerymag.com/dueling-reviews-alake-shilling/)
- [POINT OF NO RETURN](https://artillerymag.com/point-of-no-return/): When Ewa Wojciak met Bruce Kalberg, she had just received her MFA and landed a job as the art director of the recently launched LA Weekly. Kalberg was working as a temporary assistant in the accounting office. Their first lunchbreak together, Kalberg told Wojciak he wanted to show her something. He led her out of the building to his VW Bug, parked right out front on Sunset Boulevard. The car was a mess, as if he’d been living in it. The mess turned out to be piles of handmade magazines. Kalberg reached inside and pulled one out. The magazine was called No Mag. “This is what I do,” he said. Within a month Kalberg had moved in with Wojciak and the two were publishing No Mag out of her apartment.
- [MARINA STERN](https://artillerymag.com/marina-stern/): All of Marina Stern’s work is weighty. The objects in her intensely matte, sleek oil paintings and densely packed graphite drawings receive an egalitarian touch. In contrast to often airy and delicate subjects—paper, string, and flowers—Stern’s quality of paint is impenetrable. Heavy machinery and buildings are painted in the same manner as blue skies. The density is due to opacity of paint, lack of brushstrokes, and, most strangely, to overdefined shadows that become objects unto themselves.
- [ROLL CALL](https://artillerymag.com/roll-call-6/)
- [GALLERY DOGS](https://artillerymag.com/gallery-dogs-5/)
- [IN SEARCH OF A CITY](https://artillerymag.com/in-search-of-a-city-5/): “Los Angeles is 72 suburbs in search of a city.” —Dorothy Parker
- [JAKE SHEINER](https://artillerymag.com/jake-sheiner/): The title of this exhibition, “Disappear Here,” is a reference to Bret Easton Ellis’s novel Less Than Zero. It alludes to the reality of anonymity in a city in which fame and glamour are the reigning myths. However, the works on hand only reflect these themes in a scattershot way. Some of these tackle this theme head on and others don’t. Take, for instance, his paintings of ad hoc shrines devoted to dead celebrities David Lynch, Ozzy Osbourne, Kobe Bryant, and Ace Frehley. Are these shrines instances of celebrity worship, a testament to our own faded dreams, or an impromptu community ritual? These are interesting questions, but they seem unrelated to most of the paintings here.
- [RADICAL PRINTS:  Chicano Prints from the Smithsonian American Art Museum](https://artillerymag.com/radical-prints-chicano-prints-from-the-smithsonian-american-art-museum/): The Smithsonian, the nation’s cultural voice established by Congress in 1846, is under attack. Financially seeded by Englishman James Smithson, who was ostensibly enamored by the great American Experiment, it has since morphed into the world's largest museum, education, and research complex, with twenty-one museums, the National Zoo, and nine research facilities. (Disclosure: my father’s art archives were acquired by the Smithsonian Museum of American History.) Yet today, it is under assault, as is The Kennedy Center—all part of the Trump administration’s attempts to control cultural narratives. It’s not going entirely as planned, with artists such as Philip Glass, Issa Rae and Renée Fleming canceling their performances.
- [CANDICE LIN](https://artillerymag.com/candice-lin-2/): At first, the installation in London’s Whitechapel Gallery seems childish: flimsy cardboard walls covered in forests, foliage and animals, all painted with loose brushwork, like set design the adults painted for their kids’ school play. In Candice Lin’s world of painted cardboard, there are cat tails to slide around, dangling frogs to spin, peep holes to spy through...
- [ART’S BIRTHDAY: The Anatomy of a Celebration](https://artillerymag.com/arts-birthday-the-anatomy-of-a-celebration/): “Thus time goes by,” Robert Filliou writes at the end of Whispered Art History (1963), the short document in which he declares January 17th the official birthday of art. In Filliou’s telling, art begins not with genius or mastery but with an ordinary gesture made exactly one million years prior, when a man drops a dry sponge into a bucket of water. Art, from its origin, is already embedded in everyday life.
- [LILY CLARK AND ASH ROBERTS](https://artillerymag.com/lily-clark-and-ash-roberts/): At the center of “Dew Point,” the current exhibition at François Ghebaly, hangs artist Lily Clark’s Inyo (2025), a sculpture of much poetry and power. Clark suspends a large hunk of alabaster from the rafters where water drips from the rock, filling up a steel basin staged below. The drops plunk into the basin, creating unpredictable, meditative ripples flowing in and out and lapping back again on themselves. The basin sits atop a slab of dolomite, both a pedestal and a foundation, but also an opposing force pushing up into the middle of the gallery and, in a sense, the world. Clark may be working with rocks, steel and water, but gravity itself is perhaps the unlikely star of this drama. Viewing Inyo at the buzzy opening in January, I felt much awe, but also a creeping anxiety about the piece, that the cord might snap, plunging the rock into someone’s skull or that the basin would tip over, spilling water all over the gallery floor. Of course, we all trust it won't, that the bolts and cables fastening Inyo safely in place will hold, that everything will be fine. But that’s just what we tell ourselves about any number of events over which we have little control: floods, earthquakes, fires, the chair we’re sitting on not buckling beneath our weight or the roof above us not caving in over our heads. The list goes on and on and in order to go on living, we ignore an endless array of risks. Yet everyone must face that with enough time, with enough water and enough gravity, we’ll all collapse back into the earth.
- [ZOE KOKE](https://artillerymag.com/zoe-koke/): I saw the sun saved and erased at the same time. In Zoe Koke’s recent paintings, oil becomes a way of holding sun. Here oil paint behaves like a desert light fixed in place, absorbing rather than illuminating. In one of her new paintings, Rainbow (2026), the desert thins into a loose field. Blue slips into ground. Gold spreads from above. In Yellow Soul Mirror (2026), all representation disappears. What remains is a dense blur of yellow. The surface carries the memory of desert light, with changing intensity, layers of sunbeams immobilized. “Blue Sky and Yellow Sunflower” brings Zoe Koke’s recent paintings into conversation with historical works by Lee Mullican and Luchita Hurtado, installed within their shared archive.
- [SANDRA VASQUEZ DE LA HORRA](https://artillerymag.com/sandra-vasquez-de-la-horra/): Few exhibitions make the gap between the United States and the rest of the world’s art capitals so blatant than “Sandra Vásquez de la Horra: The Awake Volcanoes” at Institute of Contemporary Art, Los Angeles. Pegged as the artist’s solo debut in the US, the exhibition has all the features and tells of a traveling survey retrospective, but features a contemporary vision, honed spiritual instinct, and sexual appeal that LA—the city of artists in search of a subject—frequently struggles to produce on its own.
- [ART DAMAGED](https://artillerymag.com/art-damaged-8/)
- [The Take Room](https://artillerymag.com/the-take-room/): At the tail-end of LA Art Week 2026, Artillery presented The Take Room at Wilshire Online where LA's cleverest writers and critics delivered and discussed their impressions on what they saw and heard during art week. Critics included Matt Stromberg, Janelle Zara, Keith J. Varadi, Brittany Menjivar, Paige Greco, Sampson Ohringer, Renee Reizman and NiggaCorp.
- [Amelia Lockwood (quick review)](https://artillerymag.com/amelia-lockwood-snap-review/): Amelia Lockwood’s ceramics push up against the natural constraints of their medium in novel ways. Rather than the earthbound, closed forms associated with this medium, we get vine-like, open lattices, expanding outward from a central axis. These echo Rococo decorative art, Gothic tracery, and art nouveau’s geometricized plant-forms. Their organic quality is not just a matter of representation or reference, but inbuilt. That is, like plants, they blur the line between structural elements and their branching elaborations. Their ornate rhythms occur in layers, as if growing from a central core like an abstracted thicket. The residue of fingers and scoring tools gives them a complimentary hint of funk, accentuated by unevenly applied translucent glazes. This should all be at odds with the precise curves and radial symmetry but, somehow, isn’t. Overall, these are a high-wire act performed with quiet panache. These work because all of their various, divergent qualities are held in an unlikely, delicate equilibrium.
- [Terry Powers (quick review)](https://artillerymag.com/terry-powers-snap-review/): Powers’ paintings—which range from landscapes to still lives to paintings of mechanical detritus—recall Impressionism, albeit in its most restrained instances: more Pissarro than Monet. That is, there’s a withholding quality towards light and a painterly restraint geared toward descriptive efficiency rather than expressive effects. Like the impressionists, Powers is attuned to the realities of Modernity as it abuts nature. Two paintings here exemplify these concerns. In both Untitled #11 (2024) and Untitled #17 (2025), a standard aluminum ladder, just inside a garage, is juxtaposed with the flowers and lawn just outside. Elsewhere, however, in his domestic interiors and still lives, the objects can seem, at times, wobbly, unstable, or collapsing into their backgrounds. These flaws, however subtle, can feel eruptive, like ruptures in an otherwise placid world, but they also speak to an admirable ambition. That is, can this type of straightforward, representational painting still capture the sheer, alienated, visual heterogeneity of our world? Maybe.
- [Zoe Alameda (quick review)](https://artillerymag.com/zoe-alameda/): The centerpiece of this show is From Here On Out (2025): a large, ramshackle, free-standing, scrap-wood armature supporting two plexiglass panels, embedded with four small assemblage-paintings, themselves containing collaged, miscellaneous photographic imagery including a bird and tree, for instance. I could go on listing the variety of elements but that would hardly convey the multitude of their interactions. Fragmented, layered imagery/material is recursively layered on yet more fragmentation, transparency, and non-sequitur juxtapositions. As with the assemblage paintings here, it contains a surfeit of inventive moves. Looking at these requires, not just shifts of attention, from one area to another, but, veritably, in ways of seeing. The material language evokes a kind of punk rock, post-pop, assemblage style but it’s taken to a stranger place: one in which hints of nostalgia, sentimentality, and seriousness—even an ethereal quality—are mingled with irony, angst, and abjection. This work isn’t just more than the sum of its parts, it’s the sum of its collisions: the energy fulminated in the interstices between one thing and another.
- [AT HOME IN THE CHAOS](https://artillerymag.com/at-home-in-the-chaos/): What do CNN chief international correspondent Clarissa Ward, three-time Adult Video News All-Girl Performer of the Year Charlotte Stokely, and art-world rising star landscape painter Emma Webster all have in common? They’ve all posed for Zak Smith.
- [MONUMENTAL GRAFFITI & GLITTERACY](https://artillerymag.com/monumental-graffiti-glitteracy/): The glittering paintings wouldn’t be out of place in Giza or Athens or Persepolis. RETNA’s bold scripts are the kind that shout down at you from the tops of ancient monuments. Sometimes elements of the painted characters resemble ancient Egyptian hieroglyphs, sometimes Arabic calligraphy, sometimes a more European-looking, Knights Templar-esque code of crosses and keys. The texts of RETNA’s recent solo exhibition in London are an indecipherable international amalgam. In JD Malat Gallery, we’re Indiana Jones discovering the mysteries of an unknown ancient civilization. It’s abstract art in denial: calligraphy that teases us with the possibility of textual meaning, but ultimately forces us to resign to awe-inspiring illegibility.
- [GALLERY DOGS](https://artillerymag.com/gallery-dogs-4/)
- [DUELLING REVIEWS: MARILYN MINTER](https://artillerymag.com/duelling-reviews-marilyn-minter/)
- [ARTIST TAKEOVER: DEIRDRE O’DWYER & MOLLY ZUCKERMAN-HARTUNG](https://artillerymag.com/artist-takeover-deirdre-odwyer-molly-zuckerman-hartung/)
- [R. CRUMB](https://artillerymag.com/r-crumb/): R. Crumb’s “tales” (even filtered through psychedelics and cannabinoids) weren’t always so paranoid—though they were frequently calamitous. The street-hip graphic domain Crumb freely improvised during the 1960s and 1970s across densely cross-hatched black-andwhite panels, was borne out of a counter-cultural stew as manic as it was laid-back—occasionally approaching the catastrophic—suggesting that paranoia was never more than one bad acid trip away. In the decades since those early picaresque romps and darkly surreal chronicles, human history has seemingly overtaken its potential for pathological distortion. It’s always worse than we think.
- [MONUMENTS](https://artillerymag.com/monuments/): 150 years after the Civil War, it seems American art institutions are finally ready to discuss Confederate statuary. Seizing this opportunity, curator Hamza Walker (along with co-curators Bennett Simpson and Kara Walker) has gone to unusual lengths in his sprawling two-part opus “MONUMENTS.” Collecting primary research materials, namely bronze and stone statues created in the aftermath of the war, and pairing them with responses from contemporary artists,“MONUMENTS” is unlike any exhibition that will grace Los Angeles this year. Its sheer size and scale required financing from an array of funding organizations, weathering pandemic-era production delays, unusually complex logistical support to help move, store, and show its oversized historical works, and the cooperation of two exhibiting institutions, The Brick and the Museum of Contemporary Art, Los Angeles (MOCA), with each hosting one of the two cores of the exhibition. The story of “MONUMENTS” begins in 2017, when the city council of Charlottesville, Virginia,voted to deaccession its controversial statues of Confederate generals Robert E. Lee and Stonewall Jackson—an event that contributed to nearly a thousand white supremacists descending upon the city for the Unite the Rightrally that same year. The two statues were eventually given away in 2021, with Hamza Walker acquiring the Stonewall statue and beginning the arduous process of finding and borrowing monuments like it for the exhibition that would become “MONUMENTS.” The curatorial experiment also brings together 19 additional works by contemporary artists, including Bethany Collins, Karon Davis, Walter Price, Cauleen Smith, Hank Willis Thomas, Monument Lab, Leonardo Drew, Torkwase Dyson, Jon Henry, Hugh Mangum, and Martin Puryear. (Ofthese 19 artists, 11 produced new works commissioned by MOCA and The Brick.) Artist-curator Kara Walker’s sculpture Unmanned Drone (2023)—a reworking of the Charlottesville Stonewall Jackson statue made into a disfigured half-human, half-beast machine—forms the centerpiece of her solo presentation at The Brick. “MONUMENTS” oozes with what most contemporary art exhibitions lack: righteousness, heartfelt inquiry, and a loud, expansive reckoning with art’s relationship to power. The works included in the show not only draw from a vast array of disciplines and aesthetic paradigms, but demonstrate how far sympathy for Lost Cause doctrine—the belief that the seceding Southern states sought to protect their sovereign rights during the Civil War, not their ability to own, sell, and domesticate African slaves—has drifted from the South and even penetrated liberal government bodies at times. For example, in Practice, Practice, Practice (2024), Kevin Jerome Everson interviews Richard Bradley, a working-class Black man who climbed a flagpole outside San Francisco City Hall three times in 1984 to remove the Confederate flag. Now in his 70s, Bradley’s attempts to remove the flag resulted in his arrest and then-mayor Dianne Feinstein replacing the flag eachtime. In his Stranger Fruit series, photographer Jon Henry places Black mothers and their sons in poses that recall Catholic pietàs where the Virgin Mary holds the mortal body of her crucified son. The photographs, taken in cities across the U.S. with large Black populations and histories of racial discrimination, speak to the reckoning many Americans had to face when scores of Black men and children were wrongly killed by police in highly documented and publicized cases in the 2010s—an enlightenment wrought from the death of these Black victims. Perhaps the most moving of these offerings is HOMEGOING (2025), where vocalist Davóne Tines and filmmaker Julie Dash ceremoniously honor the victims of the 2017 Emanuel African Methodist Episcopal Church shooting with a recorded gospel send up of This Little Light of Mine. Looping between Tines and his band performing their song in the 200-year-old church and the haunting landscape that surrounds the Angel Oak Tree, itself more than 400 years old, outside of Charleston, HOMEGOING and its dirge spread into MOCA’s common areas, coating its peerworks in a funereal song. These emotionally charged and frankly humbling contributions to the exhibition do not mean that “MONUMENTS” is a perfect or conversation-ending installment in the dialogue about racial justice in America. It is easy, for example,to point to the amount of exhibition space dedicated to The Klan, the 1990 photo series by photographer Andres Serrano that shows intimate, though veiled, portraits of Klansmen sporting hoods whose colors ironically rhyme with the colors of the Palestinian flag. The slightly magnified portraits show high-ranking Klan membersin a traditionally honorific format—something that feels harder to ignore since early November, when art publication Hyperallergic noted that Serrano’s correspondence with disgraced pedophile Jeffrey Epstein is included in the trove of government documents now called the “Epstein Files,” and shows the artist expressing sympathy for Donald Trump. To make matters worse, Serrano’s photographs are situated in the gallery that directly abuts HOMEGOING, meaning many viewers had to pass through his fetishistic Klan portraiture before experiencing Tines and Dash’s heartfelt remembrance of the Charleston victims. Other works included in the exhibition, like Kahlil Robert Irving’s New Nation (States) Battle of Manassas—2014 (2024–25) and Abigail DeVille’s Deo Vindice (Orion’s Cabinet) (2025), large, monumental works, deliver conceptually charged critique at the expense of more directly communicated emotion. At the same time, smaller works like the seven photographs the late Nona Faustine produced for her White Shoes series show viewers that monumentality is not about size and scale so much as the ability to shape cultural memory. Self-portraits of the artist,a proudly heavy-set Black woman, wearing nothing but white pumps and occasionally a robe at sites related to New York City’s history with slavery and colonialism, give stark reminders that even the Union was not always righteous. Given that the spine of contemporary America is built on forgetting the slavery of its past, Faustine’s nude photographs subtly offer a way to make others live with the truth: show them exactly what they don’t want to see, exactly what they don’t want to remember. Not far from Faustine’s photographs is perhaps the most concise material argument about what to do with America’s slaving past within the exhibition. Going beyond the institutional consensus that suggests comparable Nazi art and cultural objects should be destroyed if found, theJefferson School African American Heritage Center took the General Lee statue they received from the city of Charlottesville and reduced it to its basic material parts. Melted into bronze ingots and shown alongside the impurities from the burn-off process as well as the granite slab that previously formed its pedestal, the piece is paused mid-transformation as the school prepares to turn the sculpture into a new public artwork. Something between art, ritualistic purification, and institutional critique, the deconstructed sculpture is an indelible and profound reminder that the process of remedy rarely returns the aggrieved what they had lost. Rather, remedy grants the opportunity to recall the state of the world before injustice occurred. It provides the space to meditate on loss without denying the afflicted the ability to speak abouttheir suffering. For Black Americans, this is a new privilege, and one that“MONUMENTS ”celebrates while mourning its costs.
- [TRENTON DOYLE HANCOCK & PHILIP GUSTON](https://artillerymag.com/trenton-doyle-hancock-philip-guston/): Entrusted to the sprawling Skirball Cultural Center in Brentwood by New York’s Jewish Museum, “Draw Them In, Paint Them Out” presents a handful of Philip Guston’s depictions of cowled Ku Klux Klan figures, alongside Trenton Doyle Hancock’s ambitious, mixed media “responses” to his precursor’s work. The exhibition may succeed in drawing viewers in, despite the remote location of its second venue. During my visit, staff were huddled together at the show’s entrance, where they debated the pitfalls and merits of displaying Guston’s and Hancock’s representations of Klansmen.
- [MOSIE ROMNEY](https://artillerymag.com/mosie-romney/): I felt dizzy at mosie romney’s show “every Spiral has its law” at Sebastian Gladstone. I could chalk it up to external factors (fatigue, harsh gallery lighting), but I suspect that the work itself was the incubator of disorientation. My previous visits to the space, which, prior to Gladstone’s descent, had been Gaga & Reena Spaulings, always felt a bit clandestine, like an out-of-commission lecture hall. But now the space is sterile, like every other gallery, save for a garish pale pink exterior. In conditions such as these, romney’s work forces vertigo on the unsuspecting captive. The work—unassuming paintings and a collection of sparse sculptures—demands eye movement at every point between floor and ceiling, a feat on romney’s part. The viewer’s gaze circles around the room, suctioned to the walls until reaching the center. Forcibly rocked as if on a ship stuck in a whirlpool, the viewer becomes ensnared in the spiral.
- [ROOM 8: A CAT IN THE CLASSROOM](https://artillerymag.com/room-8-a-cat-in-the-classroom/): Though I grew up with pets, I’ve never taken to them. As a boy, we had a beast of a dog, Soxy. She was scary and insane, except for when my older brother could tame her long enough to let me ride her around like a pony. My mother preferred fish, silent and remote, almost like not having pets at all. But those fell victim to negligence. Overfed, bloated, and dead of gout. The cat my mother got us left the deepest impression. We named her Marshmallow, a nod to her four white paws. But Marshmallow was nothing like a marshmallow, not sweet nor soft. For weeks, she’d vanish into the woods surrounding our house, only to announce her return by delivering us morbid gifts: a mouse beheaded and quartered on our front doorstep or a rabbit on the garage floor, the creature gutted, its entrails surgically removed, its corpse floating in a puddle of blood.
- [GRETCHEN BENDER](https://artillerymag.com/gretchen-bender/): You get a brief shot of Matinée, a new project space thought up by Los Angeles-based artist Andrew J. Greene, at around minute one of a video posted by a daredevil urban explorer YouTuber, Davy, titled “EXPLORING THE ‘WARNER BROS’ THEATRE IN DOWNTOWN LOS ANGELES.” In March, Davy and a companion (who goes by moodygabe) snuck into the Jewelry Theatre Building’s side door on 7th Street, and over the course of the upload ended up somewhere inside the vaudeville house-turned-movie palace-turned-jewelry market’s ceiling, behind a cascading strip light chandelier and the disintegrating art deco murals that decorate the theater’s dome.
- [FLORA YUKHANOVICH](https://artillerymag.com/flora-yukhanovich/): Ah, yes, the front room at Hauser & Wirth: the room you usually walk past on the way to the better shows in the back. There’s a certain type of painting one expects here: Blue Chip filler, the type of young artists who get mentioned in Vanity Fair articles. Where Hauser & Wirth tends to stage their exhibitions of historically important artists in the rear gallery space, the front room can feel like the retail endcap stocked with Oreos you walk by on the way to buy stuff for a nice Sunday dinner. While there have been exceptions to the tendency (the gallery exhibited John Chamberlain’s crushed cars alongside Larry Bell’s transparent cubes in the front room in 2022, for example), Flora Yukhnovich’s solo exhibition of nine paintings toes the line.
- [COLLECTING THOUGHTS (print exclusive)](https://artillerymag.com/collecting-thoughts-fredericks-freiser/): This article is available in print and in our digital edition. To read the full article, please subscribe.
- [AN ARTIST ANSWERS QUESTIONS <div class='subhed'><span>Jacob Rosenberg</span></div>](https://artillerymag.com/an-artist-answers-questions-7/): Tell us about yourself
- [ART DAMAGED](https://artillerymag.com/art-damaged-7/)
- [STAYING SANE(ish) WITH DR. TRAINWRECK](https://artillerymag.com/staying-saneish-with-dr-trainwreck-print-exclusive-copy/): I am about to get married. Maybe. Probably. And as a part of this whole thing, I find myself spending hours—hours—discussing the particulars of what this marriage is going to look like. What rules are we going to have? How are we going to keep each other safe and make one another feel chosen, loved, and special? How indeed. How, when I know for a fact that he is going to stick his dick in other people. And that just is not the hill I am willing to die on. I joke with him that he can fuck other women once I’m dead. And seeing as I have cancer, that might not be too long. He has noted this with feigned relief. And I laugh. Because I know he loves me, and I know he is (sort of) kidding. But without that little half-joke-half-truth, I am certain we could not get past it. I might not be happy about the whole dick-in-another-person thing, but I can laugh about it, be secure in my relationship, and see all of it as sort of funny. Because all of it is sort of funny. From me getting married to the fact that I am marrying this guy. This guy who turns almost everything into something I can giggle at. Because were we to sit down (probably at some annoying artisanal coffee place) and share our feelings—yuck. Just…yuck. It’s the laughter that gets me—us—to the other side of the hard shit.
- [ROLL CALL](https://artillerymag.com/roll-call-5/)
- [LUDOLOGY](https://artillerymag.com/ludology-6/): lu·dol·o·gy /l(j)uˈdɑlədʒi/ n  A field of cultural studies that examines games, the act of playing them, and the players and cultures that surround them. It is also known as game studies or gaming theory.
- [World AIDS Day 2025: Artists and Activism](https://artillerymag.com/world-aids-day-2026-artists-and-activism/): Photo recap of an incredible event to commemorate World AIDS Day 2025 held at The Broad on December 3, 2025 featuring a panel discussion with multidisciplinary artists Rubén Esparza, Ken Gonzales-Day, Joey Terrill, and photographer/documentarian Judy Ornelas. Moderated by art journalist Carolina A. Miranda. Co-presented by The Broad and Artillery with leading partner East West Bank. Photos provided by The Broad.
- [KEN GONZALES-DAY](https://artillerymag.com/ken-gonzales-day-3/): At Luis de Jesus Los Angeles, Ken Gonzales-Day: Afterlife, shows new digital collages furthering his body of “nevermades;” a term coined by the artist to describe his revisionist reimaginings of Western historical moments and figures bringing into question the long held museum practice of considering Western utilitarian objects “art” and everything else “artifact.”
- [MOUNTAIN AS METHOD](https://artillerymag.com/mountain-as-method/): I missed the party. A party that promised nothing less than to reveal the nature of reality. I wanted to go, but the promised revelation of full reality was curtailed by immediate financial reality—I had to go to a wedding out of town the night before and couldn’t afford the only flight that would get me back in time for the event. I grudgingly accepted that I might be on too tight a budget to leave Plato’s Cave. And what did I miss? Reality was better than I could have guessed: A helicopter dropped a wooden crate from the sky and inside was a giant cake. Champagne—bottles floated on a sea of sculpted ice in a fountain—never stopped flowing, dispensed by waiters wearing crisp white frocks. An orchestra of cellists played Bach on the veranda of a neoclassical Beverly Hills mansion, and the music floated across a sprawling lawn where art world bona fides mingled with Vegas-esque dancers and, inexplicably, a large herd of live goats. A banner spread across the topiary read: Think Harder.
- [RECONTAMINATION](https://artillerymag.com/recontamination/): LA-based photographer Gerd Ludwig has been recording the aftermath of the Chernobyl nuclear disaster for the last two decades. Here, Artillery presents a selection of Ludwig’s most recent images, focusing on the ghost town of Pripyat. The near-classically surreal tableaus shown in Ludwig’s new work are the result not merely of the meltdown itself, but also of the following decades of disaster tourism, legal and otherwise. Furniture, gas masks, dolls, toys, books, clothes, papers, and the thousand appurtenances of everyday life have been disrupted and rearranged by first the catastrophe and then the scavengers, taggers, gawkers, and vloggers that came to witness what it had wrought. Ludwig’s photographs become behind-the-scenes photographs revealing the arrangements of other, now-vanished photographers just as those previous photographers were themselves attempting to summon the ghost of Pripyat’s now-vanished inhabitants. The resulting images show the Chernobyl horror not only through the darkened glass of lost time but through the funhouse mirrors of human invention, expectation, and exploitation.
- [YUVAL PUDIK](https://artillerymag.com/yuval-pudik/): Men in nice suits do not often crawl around on their hands and knees; there’s too great a risk of their shoes getting scuffed, their knees wearing through, or, God forbid, their seams splitting right along their backside. But brave men in suits defied the norms on Friday, September 12th, when they hand-kneed it along the cold, smooth floor of NOON Projects for the opening of Yuval Pudik’s exhibition “The Hom(o)stead Act: Kaiserpanorama.” Our valiant, suited heroes were not alone; they were amongst the throngs of people (most not in suits but, nevertheless, stunning) who heard, like me, the call that something was happening at the gallery typically exclusive to the stalls of bathrooms: Glory Holes. Those out of the loop may ask, “What?” And those in the loop, “How?” My concern wasn’t whether these holes were usable, but why. Was the pull of the hole(s) simply a gimmick—yet another art show putting spicy gay culture on display for a non-insider audience—or the opening to something more profound?
- [NANCY BUCHANAN](https://artillerymag.com/nancy-buchanan-2/): Desire can make you sick, or it can make you try. Los Angeles-based artist Nancy Buchanan, working steadily since the 1970s, has consistently chosen the latter. Hair Room (1973/2025), a closet-sized chamber where strings of hair caress the top of your head as you walk through, distills Buchanan’s ethos of seizing what repels—hair, bones, surveillance, environmental and social collapse—and making work from the very point where desire flips into disgust. It’s a fitting entry point for “Truthfully, Nancy Buchanan,” her recently closed retrospective at The Brick, which is less a tidy career survey than it is a triumphant archive of trying.
- [ADAM ALESSI](https://artillerymag.com/adam-alessi/): “fullmoon” is a bit of a homecoming for Adam Alessi. The artist has been averaging around one solo show a year since his sudden art world ascent about five or six years ago, but with the last two having taken place in Italy and New York, Los Angeles has rarely seen his work since his 2022 show at Smart Objects. The occasion itself is splashy enough as any to inaugurate Hoffman Donahue (a West Coast – East Coast merger between Hannah Hoffman and Bridget Donahue’s operations) and Marc Selwyn’s new shared space on Camden Drive in Beverly Hills, where Hannah/Bridget and Marc will alternate exhibitions. It’s all a lot less complicated than it sounds, and the mood on the evening of the opening at the end of September was sufficiently celebratory that attendees seemed refreshingly unconcerned with anything as tiresome as gallery strategy.
- [FLORIAN KREWER](https://artillerymag.com/florian-krewer/): There’s an easy attractiveness to Florian Krewer’s paintings that obscures the complex formations of desire within them. At times they seem stripped of everything but their earnestness, but then at others, they are scattered with bold and reckless impulses. There is also a weirdness Krewer employs, a formal perversity that takes it off road and out of the authentic realm of Beverly Buchanan, or the direct and undecorated painting of Katherine Bradford or Henry Taylor, and into a space that looks over its own shoulder. There’s something in his exhibition “cold tears released” that suggests these works are not as immediate and gratifying as they suggest, and are instead a distant memory or simulacrum. Part of this quality, of second-guessing their own sincerity, emerges through Krewer’s use of dreams as subject matter; but also it is found in the specific ways he dreams through the recognizable aesthetics of counterculture. The overall effect is that these works mimic the punk culture that they depict, and generate the same teenaged loops of desiring acceptance while engendering rejection. Krewer captures what it is to feel romantically jaded, and having feelings too big to know how to handle them.
- [IT SMELLS LIKE GIRL](https://artillerymag.com/it-smells-like-girl/): “It Smells Like Girl,” at Jeffrey Deitch, in conjunction with Company Gallery, shares its title with a Tala Madani painting depicting a suspiciously phallic object, a lone actor against a cloudless blue sky. Stark and funny, the phallus is the main character, but its melodrama gives it a pathetic quality. The title is borrowed from the Hole song “She Walks on Me.” Madani’s painting is the sole instance of a work directly indicting men; the rest of the show is chock-full of both the female figure and that with which she adorns herself; the majority of the work revels in self-directed displays of feminine psychosis. Largely a romp through an arguably stacked lineup that favors the punchy and arresting, “It Smells Like Girl” is vast and comprised of 53 works, all by women artists. The show is centered on the concept of “female hysteria,” and the press release details rather loosely and abstractly the designation of the female hysteric, embracing hysteria as a necessary reaction to the constraints and double binds of femininity.
- [JASMINE JOHNSON](https://artillerymag.com/jasmine-johnson/): “All the world’s a stage, and all the men and women merely players.” Thus begins the most (and perhaps only) captivating scene from Jasmine Johnson’s film PCH & Heroin, which premiered recently alongside her film Tweakernam at New Theater Hollywood. The line, from Shakespeare’s As You Like It, is one we’ve heard so often as to make its recitation rote. Here, however, it’s not.
- [MARINA WEINER](https://artillerymag.com/marina-weiner/): In a backyard in Glendale, Marina Weiner’s solo exhibition, “Stripe Machine,” cleverly redefines the term “public art.” The art is not shown in public; the gallery, Hermitage Los Angeles, is a small, beautifully built shed behind a private home. Rather, Weiner’s ceramic sculptures take inspiration from public municipal infrastructure, “accidental sculptures” in the artist’s words. Sawhorses, chain-link fences, and traffic signs are all affectionately gestured at even as Weiner takes these forms in much more spirited directions. Even still, there is latent functionality in the works, as if they have a utility that has yet to be uncovered. The sculptures are machines but what they do remains unclear – we can assume something related to stripes. All jokes aside, the implied usefulness of the sculptures does not undercut their artistic value. Instead,it invites us to look anew at the well-worn public works that inspired the sculptures.
- [AMERICAN ARTIST](https://artillerymag.com/american-artist/): In a small gallery of the California African American Museum, a wooden table hosting just short of two dozen drawings and a life-size sculptural replica of a chicken coop invoke a perplexing story about institutional partnerships in the contemporary arts. In “Shaper of God: Apple Valley Autonomy,” American Artist—known for their work across sculpture, video, and new media as well as the pointed legal change to their name—presents snapshots from their sprawling archival project. Initiated in 2021, and supported by artworld forces including The Hyundai Project, LACMA, Creative Capital, Kadist, REDCAT, and Getty, “Shaper of God” gathers research, archival materials, original artworks, and documentation that investigate the legacy of beloved American science fiction writer Octavia E. Butler, locating the Southern California landscape as a particular vector of Black experience that made its way into her otherworldly writing. “Shaper of God” includes three primary works—two sets of drawings, Octavia E. Butler Papers: mssOEB 1-9062: Local Documents (2025) and Octavia E. Butler Papers: mssOEB 1-9062: Maps (2025), and a sculpture Estella Butler’s Apple Valley Autonomy (2025).
- [ARTIST TAKEOVER: PETER TOMKA](https://artillerymag.com/artist-takeover-peter-tomka/)
- [DUELLING REVIEWS: BRUCE NAUMAN](https://artillerymag.com/duelling-reviews-bruce-nauman/)
- [AMONG THE THANATOIDS](https://artillerymag.com/among-the-thanatoids/): Thomas Pynchon’s 1990 novel Vineland, his first after the 1974 National Book Award-winning Gravity’s Rainbow, is one of many Pynchon novels dramatizing and celebrating life on the fringes of society.
- [IN SEARCH OF A CITY](https://artillerymag.com/in-search-of-a-city-4/): “Los Angeles is 72 suburbs in search of a city.” —Dorothy Parker
- [COLLECTING THOUGHTS (print exclusive)](https://artillerymag.com/collecting-thoughts-print-exclusive/): Why do you collect art?
- [DINNER AND A SHOW](https://artillerymag.com/dinner-and-a-show/): THE SHOW: LIORAH TCHIPROUT

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- [Event Calendar](https://artillerymag.com/event-calendar/): Calendar Today Mon Tue Wed Thu Fri Sat Sun M T W T F S S 31 1 + 12:00 AM - JANE ZWEIBEL: DREAMS IN ACTION 12:00 AM - MEGAN MARLATT: MYTHS AND MUMMERS 11:00 AM - Hold Each Other's Hands: Trans Mutual Aid, 1966-1996 more... 2 1:00 PM - TAG presents 6 Solo Shows and Features TAG Artists in Group Show: Light 3 3:00 PM - Photographic Arts Council Los Angeles presents a Live Online Event by Artist Fabiola Menchelli 8:00 PM - Antigone: In the Language of Kings 4 5:00 PM - EARTH ELEMENTS: PAINT AND FIRE 7:00 PM - Looks Like My Summer Vacations Over 5 + 12:00 AM - Ann Thornycroft: Paint, oil, water 12:00 AM - Sarah Ippolito: Growing by Living Together 4:00 PM - SEPTEMBER GOLDEN DAYS more... 6 2:00 PM - Feia end of summer cookout and closing reception 7 8 9 10 12:00 AM - Seeing Through: Jia Aili’s Parallel Paintings 10:00 AM - Exhibition and public Laboratory: Yrneh Gabon-- Investigation: Water, Seeds, and Soil 11 + 10:00 AM - Charles Arnoldi, Ron Cooper, Laddie John Dill | Still Friends After All These Years 10:00 AM - Charles Arnoldi, Ron Cooper, Laddie John Dill | Still Friends After All These Years 4:00 PM - Mark Mennin - Despotika, Fallen Dictators more... 12 + 10:00 AM - Samantha Fields: The Lay Of The Land 10:00 AM - Barbara Strasen: Inside the Imaginal Realm 10:00 AM - Featuring: Carol Inez Charney: Imprint of Silence more... 13 4:00 PM - Bernie Pearl & Friends “The Blues is a Story” 14 15 16 17 + 12:00 AM - Power of Mystery: 100 Years 12:00 AM - Power of Mystery: 100 Years 12:00 AM - Power of Mystery: 100 Years more... 18 + 12:00 PM - E37: Homing 6:00 PM - Justin Cooper: DISLOCATION 6:00 PM - OPENING – Paul Pfeiffer at Perrotin Los Angeles – September 18 more... 19 + 12:00 AM - This Land Is Your Land: Stewarding the Earth Through a Changing Climate 10:00 AM - Roy DeCarava: the sound i saw 11:00 AM - Self Care: Yoga September 2026 more... 20 4:00 PM - The Amazing Portrait and Story of Mai 21 22 23 24 + 12:00 PM - ​Clio Art Fair 25th Edition | September 24-27, 2026 12:00 PM - ​Clio Art Fair 25th Edition | September 24-27, 2026 11:00 AM - LMU’s Laband Art Gallery Presents “Phyllis Green: Of My Own Making” Sept. 24 to Dec. 5 more... 25 11:00 AM - Raquel Maulwurf: The Collective Memory Archive 5:00 PM - Melrose Gallery Walk 26 + 12:00 AM - Kristi Head + Mark Acetelli: Lying, but only a little 11:00 AM - A Change in Our Nature: Villeroy & Boch 11:00 AM - Whispers: Women, Animals and Chimeras more... 27 4:00 PM - Honey Whiskey Trio 28 29 12:00 AM - Kathleen Beausoleil: Meet at the Ferris Wheel 12:00 AM - Ellen Starr Lyon: Nesting Rituals 30 1:00 PM - Night Watch // Gregory Rick 6:00 PM - In Conversation: Glenn Ligon, Mirsini Amidon & Dr. Kellie Jones 1 10:00 AM - In Community: LACP’s Annual Members’ Exhibition 10:00 AM - In Community: LACP’s Annual Members’ Exhibition 11:00 AM - National Watercolor Society’s 106th International Open Exhibition 2 5:00 PM - Home, Elsewhere 8:00 PM - Bon Bon Vivant & Pre-concert Wine Tasting 3 10:00 AM - GROUP ART SHOW 4:00 PM - Curatorial Walkthrough with Umi Hsu 4 1:00 PM - SEPTEMBER GOLDEN DAYS JANE ZWEIBEL: DREAMS IN ACTION Sep 1 - Sep 26     All Day The Painting Center Out of Town JANE ZWEIBEL: DREAMS IN ACTION EXHIBITION DATES: September 1 – 26, 2026 RECEPTION: Thursday, September 10, 5 - 8 pM Closing Reception: Saturday, September 26, More Info MEGAN MARLATT: MYTHS AND MUMMERS Sep 1 - Sep 26     All Day The Painting Center Out of Town MEGAN MARLATT: MYTHS AND MUMMERS EXHIBITION DATES: September 1 – 26, 2026 RECEPTION: Thursday, September 10, 5 - 8 pM Closing Reception: Saturday, September 26, More Info Hold Each Other's Hands: Trans Mutual Aid, 1966-1996 01 Sep Sep 1 - Dec 5     11:00 am - 4:00 pm Oxy Arts In Town — Los Angeles and environs Hold Each Other’s Hands chronicles a history of mutual aid led by transgender and gender expansive people. This exhibition explores how individuals with various relationships More Info TAG presents 6 Solo Shows and Features TAG Artists in Group Show: Light Sep 2 - Sep 24     1:00 pm - 7:00 pm The Artists Gallery In Town — Los Angeles and environs September 2 - 24 at TAG Gallery, the gallery presents a series of exhibitions examining photography, painting, sculpture, ceramics, and the impact of light. The More Info Photographic Arts Council Los Angeles presents a Live Online Event by Artist Fabiola Menchelli Sep 3     3:00 pm - 4:00 pm Zoom Link In Town — Los Angeles and environs Photographic Arts Council Los Angeles (PAC LA) is pleased to present “our sharp line of sight,” a live Zoom presentation by artist Fabiola Menchelli, taking More Info Antigone: In the Language of Kings Sep 3 - Oct 3     8:00 pm - 9:30 pm Getty Villa In Town — Los Angeles and environs Set in the vibrant world of pre-conquest Tenochtitlan, Mexico, this powerful reimagining of a classic tragedy confronts themes of loyalty, familial duty, and the clash More Info EARTH ELEMENTS: PAINT AND FIRE Sep 4 - Oct 9     5:00 pm - 10:00 pm Wonzimer In Town — Los Angeles and environs EARTH ELEMENTS: PAINT AND FIRE Curated by Gary Brewer Wönzimer Gallery 341-B S Avenue 17, Los Angeles, CA 90031 wonzimerinfo@gmail.com | www.wonzimer.com Opening Reception: Friday, More Info Looks Like My Summer Vacations Over Sep 4 - Oct 3     7:00 pm - 10:00 pm Stone/Age In Town — Los Angeles and environs Stone/Age is excited to announce “Looks Like My Summer Vacations Over”, a solo exhibition of paintings by Teddy Davis. More Info Ann Thornycroft: Paint, oil, water Sep 5 - Oct 17     12:00 am Official Welcome In Town — Los Angeles and environs August 17, 2026–Official Welcome is excited to announce Ann Thornycroft's solo exhibition, Paint, oil, water, opening on September 5, 2026. Composed entirely of work made More Info Sarah Ippolito: Growing by Living Together Sep 5 - Oct 17     12:00 am Official Welcome In Town — Los Angeles and environs Anteroom: Sarah Ippolito | Growing by Living Together Sarah Ippolito (b. 1986, Houston, TX) is an artist and avid scuba diver based in Altadena, CA. More Info SEPTEMBER GOLDEN DAYS Sep 5     4:00 pm - 7:00 pm Diversions Fine Arts In Town — Los Angeles and environs September Exhibition Diversions Fine Arts Gallery SEPTEMBER GOLDEN DAYS On view: Sept 5 – Oct 4, 2026 Reception: Sept 5, 2026, 4-7 p.m. Artist’s Talk More Info Feia end of summer cookout and closing reception Sep 6     2:00 pm - 8:00 pm Feia In Town — Los Angeles and environs Join us on Labor Day weekend to say goodbye to summer and celebrate the closing of our two exhibitions: Four Corners featuring Kayla Mattes, Danielle More Info Seeing Through: Jia Aili’s Parallel Paintings Sep 10 - Oct 10     All Day Gagosian In Town — Los Angeles and environs Gagosian is pleased to announce Seeing Through: Jia Aili’s Parallel Paintings, a major exhibition of new works by the artist. This is Jia’s first solo More Info Exhibition and public Laboratory: Yrneh Gabon-- Investigation: Water, Seeds, and Soil Sep 10 - Oct 14     10:00 am - 4:00 pm VAMA Gallery, LACC In Town — Los Angeles and environs September 10th - October 14th; Artist reception: Wednesday October 7th, 4-7pm Investigation: Water, Seeds, and Soil, by visiting artist and scholar Yrneh Gabon combines studio More Info Charles Arnoldi, Ron Cooper, Laddie John Dill | Still Friends After All These Years Sep 11 - Oct 10     10:00 am - 5:00 pm Charlotte Out of Town For immediate release: CHARLOTTE JACKSON FINE ART presents Still Friends After All These Years Charlotte Jackson Fine Art is delighted to present a group exhibition More Info Charles Arnoldi, Ron Cooper, Laddie John Dill | Still Friends After All These Years 11 Sep Sep 11 - Oct 10     10:00 am - 5:00 pm Charlotte Out of Town For immediate release: CHARLOTTE JACKSON FINE ART presents Still Friends After All These Years Charlotte Jackson Fine Art is delighted to present a group exhibition More Info Mark Mennin - Despotika, Fallen Dictators Sep 11 - Oct 31     4:00 pm - 7:00 pm Von Lintel Gallery In Town — Los Angeles and environs Von Lintel Gallery is pleased to announce DESPOTIKA, Fallen Dictators, the first gallery exhibition of Mark Mennin’s work in over twenty years and his first More Info Samantha Fields: The Lay Of The Land Sep 12 - Oct 10     10:00 am - 5:00 pm Billis/Williams Gallery In Town — Los Angeles and environs Billis/Williams Gallery is pleased to present SAMANTHA FIELDS: Lay of the Land - the gallery’s first solo exhibition of the Los Angeles-based painter’s work. The More Info Barbara Strasen: Inside the Imaginal Realm Sep 12 - Oct 10     10:00 am - 5:00 pm Billis Williams Gallery In Town — Los Angeles and environs Billis/Williams Gallery is pleased to present BARBARA STRASEN: INSIDE THE IMAGINAL REALM, the gallery’s seventh exhibition of the Los Angeles based artist’s mixed media paintings. More Info Featuring: Carol Inez Charney: Imprint of Silence Sep 12 - Oct 10     10:00 am - 5:00 pm Billis/Williams Gallery In Town — Los Angeles and environs Billis/Williams Gallery is pleased to present CAROL INEZ CHARNEY: Imprint of Silence, a feature of the artist’s new series of photographs. The exhibition features five More Info Bernie Pearl & Friends “The Blues is a Story” Sep 13     4:00 pm - 6:00 pm The Grand Annex Music Hall In Town — Los Angeles and environs Bluesman Bernie Pearl assembles another all-star blues showdown with guest Boogie Woogie Hall of Famer, pianist Carl Sonny Leyland, Tracey Hart (vocals), Kee Eso Pitchford More Info Power of Mystery: 100 Years Sep 17 - Nov 22     12:00 am Robert Koch Gallery Out of Town The Robert Koch Gallery is pleased to announce Power of Mystery: 100 Years, an exhibition drawn from the gallery’s inventory that explores photography’s longstanding relationship More Info Power of Mystery: 100 Years 17 Sep Sep 17 - Nov 22     12:00 am Robert Koch Gallery Out of Town The Robert Koch Gallery is pleased to announce Power of Mystery: 100 Years, an exhibition drawn from the gallery’s inventory that explores photography’s longstanding relationship More Info Power of Mystery: 100 Years 17 Sep Sep 17 - Nov 22     12:00 am Robert Koch Gallery Out of Town The Robert Koch Gallery is pleased to announce Power of Mystery: 100 Years, an exhibition drawn from the gallery’s inventory that explores photography’s longstanding relationship More Info E37: Homing Sep 18 - Sep 25     12:00 pm - 4:00 pm LA Artcore In Town — Los Angeles and environs https://laartcore.org/e37-homing In a flood, birds take to the sky In the Northern California Miwok legend, ravens became the second humans flight for the next generation More Info Justin Cooper: DISLOCATION Sep 18     6:00 pm - 8:00 pm Justin Cooper Studio In Town — Los Angeles and environs Dislocation A Solo Exhibition by Contemporary Artist Justin Cooper to be held at Justin Cooper Studio. Opening Reception: Sept. 18, 2026 | 6–8 PM Los More Info OPENING – Paul Pfeiffer at Perrotin Los Angeles – September 18 Sep 18     6:00 pm - 8:00 pm Perrotin In Town — Los Angeles and environs More Info This Land Is Your Land: Stewarding the Earth Through a Changing Climate Sep 19 - Nov 14     12:00 am Center for the Arts Eagle Rock In Town — Los Angeles and environs The Arroyo Arts Collective and Center for the Arts Eagle Rock Present This Land Is Your Land: Stewarding the Earth Through a Changing Climate Exhibition: More Info Roy DeCarava: the sound i saw Sep 19 - Oct 31     10:00 am - 6:00 pm David Zwirner In Town — Los Angeles and environs David Zwirner is pleased to announce an exhibition of photographs by Roy DeCarava (1919–2009) curated by Ebony L. Haynes at the gallery’s 606 N Western More Info Self Care: Yoga September 2026 Sep 19     11:00 am - 12:00 pm California African American Museum (CAAM) In Town — Los Angeles and environs Move through a 60-minute flow with yoga and meditation teacher Constance Hartwell. No previous experience is necessary. Please bring your own yoga mat. Indoors. https://caamuseum.org/programs/talks-and-workshops/self-care-yoga-september-2026 More Info The Amazing Portrait and Story of Mai Sep 20     4:00 pm - 5:00 pm Getty Center In Town — Los Angeles and environs https://www.getty.edu/calendar/portrait-story-mai/ Sunday, Sep 20, 2026 4pm Getty Center & Online Harold M. Williams Auditorium Free Tickets are free, but required for event entrance. Your event More Info ​Clio Art Fair 25th Edition | September 24-27, 2026 24 Sep Sep 24 - Sep 27     12:00 pm - 6:00 pm Clio Art Fair Out of Town "Clio Art Fair, the leading independent art fair that champions self-represented artists, returns to Chelsea this September with its 25th edition: September 24-27, 2026. The More Info ​Clio Art Fair 25th Edition | September 24-27, 2026 Sep 24 - Sep 27     12:00 pm - 6:00 pm Clio Art Fair Out of Town "Clio Art Fair, the leading independent art fair that champions self-represented artists, returns to Chelsea this September with its 25th edition: September 24-27, 2026. The More Info LMU’s Laband Art Gallery Presents “Phyllis Green: Of My Own Making” Sept. 24 to Dec. 5 24 Sep Sep 24 - Dec 5     11:00 am - 7:00 pm Laband Art Gallery In Town — Los Angeles and environs LMU’s Laband Art Gallery presents its fall 2026 exhibition, “Phyllis Green: Of My Own Making” from Sept. 24 to Dec. 5, 2026. “Of My Own More Info Raquel Maulwurf: The Collective Memory Archive Sep 25 - Nov 14     11:00 am - 6:00 pm David Krut Arts Out of Town Opening Reception Friday, September 25, 2026, 6-10PM | The exhibition will be opened at 6:30PM by Pauline Genee, Head of Cultural Affairs USA of the More Info Melrose Gallery Walk Sep 25     5:00 pm - 8:00 pm Hostler Burrows In Town — Los Angeles and environs Join us for the Melrose Gallery Walk on Friday, September 25, from 5–8 PM. We’re thrilled to welcome designer Luke Foss, who will curate a More Info Kristi Head + Mark Acetelli: Lying, but only a little Sep 26 - Oct 10     12:00 am INTERVAL In Town — Los Angeles and environs INTERVAL presents Lying, but only a little, bringing together Los Angeles-based artists Mark Acetelli and Kristi Head. Acetelli’s work moves through subtraction and emotional clarity, More Info A Change in Our Nature: Villeroy & Boch Sep 26 - Sep 24     11:00 am - 4:00 pm American Museum of Ceramic Art In Town — Los Angeles and environs Through ceramic works produced at the Villeroy & Boch factory in Mettlach, Germany, A Change in Our Nature traces the evolving conceptualization of nature amid More Info Whispers: Women, Animals and Chimeras Sep 26 - Oct 24     11:00 am - 5:00 pm 1700 S Santa Fe Ave Unit #101 Los Angeles In Town — Los Angeles and environs Aabee Bleue Project is pleased to present Whispers: Women, Animals and Chimeras, a solo exhibition by Elika Hedayat. The exhibition will be on view from More Info Honey Whiskey Trio Sep 27     4:00 pm - 6:00 pm The Grand Annex Music Hall In Town — Los Angeles and environs Experience a spellbinding blend of a cappella vocals, classic folk ballads and Americana tunes backed by body percussion, guitar, banjo and mandolin. More Info Kathleen Beausoleil: Meet at the Ferris Wheel Sep 29 - Oct 24     All Day The Painting Center Out of Town KATHLEEN BEAUSOLEIL: MEET AT THE FERRIS WHEEL EXHIBITION DATES: September 29 – October 24, 2026 RECEPTION: Thursday, October 8, 5 - 8 PM The Painting More Info Ellen Starr Lyon: Nesting Rituals Sep 29 - Oct 24     All Day The Painting Center Out of Town ELLEN STARR LYON: NESTING RITUALS EXHIBITION DATES: September 29 – October 24, 2026 RECEPTION: Thursday, October 8, 5 - 8 PM The Painting Center is More Info Night Watch // Gregory Rick Sep 30 - Oct 31     1:00 pm - 5:00 pm Johansson Projects Out of Town Johansson Projects presents Night Watch, a striking exhibition of paintings and works on paper by Gregory Rick that boldly reimagines history painting through the fractured More Info In Conversation: Glenn Ligon, Mirsini Amidon & Dr. Kellie Jones Sep 30     6:00 pm - 7:00 pm Hauser & Wirth In Town — Los Angeles and environs On the occasion of the openings of ‘Glenn Ligon. Sit So Your Back Isn’t Against The Door’ and ‘Jack Whitten. The Numinous,’ please join us More Info In Community: LACP’s Annual Members’ Exhibition Oct 1 - Nov 5     10:00 am - 4:00 pm Los Angles Center of Photography In Town — Los Angeles and environs LACP members belong to a thriving international network of peers and collaborators. Celebrating their creative shared space, this exhibition considers the relationship between photography and More Info In Community: LACP’s Annual Members’ Exhibition 01 Oct Oct 1 - Nov 5     10:00 am - 4:00 pm Los Angles Center of Photography In Town — Los Angeles and environs LACP members belong to a thriving international network of peers and collaborators. Celebrating their creative shared space, this exhibition considers the relationship between photography and More Info National Watercolor Society’s 106th International Open Exhibition Oct 1 - Nov 1     11:00 am - 3:00 pm National Watercolor Society In Town — Los Angeles and environs FOR IMMEDIATE RELEASE 95 Paintings. Artists from Around the World. One Extraordinary Watercolor Exhibition. National Watercolor Society’s 106th International Open Exhibition Opens Thursday, October 1, More Info Home, Elsewhere Oct 2     5:00 pm - 9:00 pm Blue and The Muse Gallery In Town — Los Angeles and environs Truffs Contemporary Arts Foundation (TCAF) presents Home, Elsewhere, a group exhibition featuring Saba Sadr, Carly França, Fía Benitez and Brenda Gonzalez as part of Los More Info Bon Bon Vivant & Pre-concert Wine Tasting Oct 2     8:00 pm - 10:30 pm The Grand Annex Music Hall In Town — Los Angeles and environs A shot of pure New Orleans with high energy Louisiana swing, pop, rootsy ballads and a touch of bawdy blues​. Hear a joyful, fierce and More Info GROUP ART SHOW Oct 3     10:00 am - 4:00 pm SCHOOL In Town — Los Angeles and environs WHEN Opening: Saturday, October 3, 10:00 AM–4:00 PM Closing Dance: Saturday, October 10, 7:00 PM–12:00 AM WHERE SCHOOL 234 E Ave 33 Los Angeles, CA More Info Curatorial Walkthrough with Umi Hsu Oct 3     4:00 pm - 5:00 pm Oxy Arts In Town — Los Angeles and environs Curator Umi Hsu will give a tour of the Hold Each Other’s Hands exhibition. Visitors will get a glimpse into the artworks and stories behind More Info SEPTEMBER GOLDEN DAYS Oct 4     1:00 pm - 3:00 pm Diversions Fine Arts In Town — Los Angeles and environs September Exhibition Diversions Fine Arts Gallery SEPTEMBER GOLDEN DAYS On view: Sept 5 – Oct 4, 2026 Artist’s Talk /Closing: Oct 4, 2026, 1-3 p.m. More Info Events on Sep 1 JANE ZWEIBEL: DREAMS IN ACTION 1 Sep 26 New York MEGAN MARLATT: MYTHS AND MUMMERS 1 Sep 26 New York 01 Sep Hold Each Other's Hands: Trans Mutual Aid, 1966-1996 1 Sep 26 Los Angeles more... Events on Sep 2 TAG presents 6 Solo Shows and Features TAG Artists in Group Show: Light 2 Sep 26 Los Angeles Events on Sep 3 Photographic Arts Council Los Angeles presents a Live Online Event by Artist Fabiola Menchelli 3 Sep 26 Antigone: In the Language of Kings 3 Sep 26 Pacific Palisades Events on Sep 4 EARTH ELEMENTS: PAINT AND FIRE 4 Sep 26 Los angeles Looks Like My Summer Vacations Over 4 Sep 26 Los Angeles Events on Sep 5 Ann Thornycroft: Paint, oil, water 5 Sep 26 Los Angeles Sarah Ippolito: Growing by Living Together 5 Sep 26 Los Angeles SEPTEMBER GOLDEN DAYS 5 Sep 26 Manhattan Beach more... Events on Sep 6 Feia end of summer cookout and closing reception 6 Sep 26 Los Angeles Events on Sep 10 Seeing Through: Jia Aili’s Parallel Paintings 10 Sep 26 Beverly Hills Exhibition and public Laboratory: Yrneh Gabon-- Investigation: Water, Seeds, and Soil 10 Sep 26 Los Angeles Events on Sep 11 Charles Arnoldi, Ron Cooper, Laddie John Dill | Still Friends After All These Years 11 Sep 26 Santa Fe 11 Sep Charles Arnoldi, Ron Cooper, Laddie John Dill | Still Friends After All These Years 11 Sep 26 Santa Fe Mark Mennin - Despotika, Fallen Dictators 11 Sep 26 Santa Monica more... Events on Sep 12 Samantha Fields: The Lay Of The Land 12 Sep 26 Los Angeles Barbara Strasen: Inside the Imaginal Realm 12 Sep 26 Los Angeles Featuring: Carol Inez Charney: Imprint of Silence 12 Sep 26 Los Angeles more... Events on Sep 13 Bernie Pearl & Friends “The Blues is a Story” 13 Sep 26 San Pedro Events on Sep 17 Power of Mystery: 100 Years 17 Sep 26 San Francisco 17 Sep Power of Mystery: 100 Years 17 Sep 26 San Francisco 17 Sep Power of Mystery: 100 Years 17 Sep 26 San Francisco more... Events on Sep 18 E37: Homing 18 Sep 26 Los Angeles Justin Cooper: DISLOCATION 18 Sep 26 Hermosa Beach OPENING – Paul Pfeiffer at Perrotin Los Angeles – September 18 18 Sep 26 Los Angeles more... Events on Sep 19 This Land Is Your Land: Stewarding the Earth Through a Changing Climate 19 Sep 26 Los Angeles Roy DeCarava: the sound i saw 19 Sep 26 Los Angeles Self Care: Yoga September 2026 19 Sep 26 Los Angeles more... Events on Sep 20 The Amazing Portrait and Story of Mai 20 Sep 26 Los Angeles Events on Sep 24 24 Sep ​Clio Art Fair 25th Edition | September 24-27, 2026 24 Sep 26 New York ​Clio Art Fair 25th Edition | September 24-27, 2026 24 Sep 26 New York 24 Sep LMU’s Laband Art Gallery Presents “Phyllis Green: Of My Own Making” Sept. 24 to Dec. 5 24 Sep 26 Los Angeles more... Events on Sep 25 Raquel Maulwurf: The Collective Memory Archive 25 Sep 26 New York Melrose Gallery Walk 25 Sep 26 LOS ANGELES Events on Sep 26 Kristi Head + Mark Acetelli: Lying, but only a little 26 Sep 26 Los Angeles A Change in Our Nature: Villeroy & Boch 26 Sep 26 POMONA Whispers: Women, Animals and Chimeras 26 Sep 26 Los Angeles more... Events on Sep 27 Honey Whiskey Trio 27 Sep 26 San Pedro Events on Sep 29 Kathleen Beausoleil: Meet at the Ferris Wheel 29 Sep 26 New York Ellen Starr Lyon: Nesting Rituals 29 Sep 26 New York Events on Sep 30 Night Watch // Gregory Rick 30 Sep 26 Oakland In Conversation: Glenn Ligon, Mirsini Amidon & Dr. Kellie Jones 30 Sep 26 Los Angeles Events on Oct 1 In Community: LACP’s Annual Members’ Exhibition 1 Oct 26 Los Angeles 01 Oct In Community: LACP’s Annual Members’ Exhibition 1 Oct 26 Los Angeles National Watercolor Society’s 106th International Open Exhibition 1 Oct 26 San Pedro Events on Oct 2 Home, Elsewhere 2 Oct 26 Los Angeles Bon Bon Vivant & Pre-concert Wine Tasting 2 Oct 26 San Pedro Events on Oct 3 GROUP ART SHOW 3 Oct 26 Los Angeles Curatorial Walkthrough with Umi Hsu 3 Oct 26 Los Angeles Events on Oct 4 SEPTEMBER GOLDEN DAYS 4 Oct 26 Manhattan Beach List Your Event tierra Craft Contemporary May 30 - Oct 25 11:00 am - 5:00 pm Earthen Comforts: Airing Earth Craft Contemporary May 31 - Oct 25 11:00 am - 5:00 pm Maker-in-Residence featuring Jackie Amézquita Craft Contemporary May 31 - Oct 25 11:00 am - 5:00 pm Pasadena: L.A.’s Art Legacy Jack Rutberg Fine Arts Jun 7 - Sep 30 10:00 am - 6:00 pm From the Inside: Presented by Just Detention International The Judith Center Jun 13 - Nov 21 All Day Stop, Drop, + Pose: Clay in Motion American Museum of Ceramic Art Jun 13 - Dec 20 11:00 am - 4:00 pm Tōgei: Contemporary Japanese Ceramics American Museum of Ceramic Art Jun 13 - Jan 3 11:00 am - 4:00 pm From the Inside: Presented by Just Detention International The reef Jun 13 - Nov 21 5:00 pm - 8:00 pm From the Inside: Presented by Just Detention International The reef Jun 13 - Nov 21 5:00 pm - 8:00 pm Fractured Foundations: 250 Years of American History American Museum of Ceramic Art Jun 27 - Nov 29 12:00 am Mount Wilson presents “Arts @ The Observatory” exhibit by Russell Crotty Mount Wilson Observatory Jul 4 - Oct 17 1:00 pm - 5:00 pm Gentle Giants Adams Square Mini Parh Jul 13 - Oct 2 All Day Obras de Luz (Works of Light): A Look at the Japanese American Community through the Lens of Photojournalist Mario Gershom Reyes Mercado La Paloma Jul 15 - Sep 25 9:00 am - 9:00 pm Joel-Peter Witkin: Selected Works 1973 - 2018 Fahey/Klein Gallery Jul 23 - Sep 26 7:00 pm - 9:00 pm Art Professors Sasse Museum of Art Aug 1 - Sep 26 All Day Pop Art Exhibition and Party at Sparks Gallery Sparks Gallery Aug 1 - Oct 4 11:00 am - 6:00 pm Andrew Catanese Solo Exhibition | I Watched Your Leaves Grow Silver in the Wind Johansson Projects Aug 6 - Sep 27 1:00 pm - 5:00 pm Sugar Rush: OMA's Artist Alliance at Sparks Gallery Sparks Gallery Aug 9 - Oct 4 11:00 am - 6:00 pm California Fibers: The Languages of Fiber Huntington Beach Art Center Aug 15 - Oct 24 12:00 am - 5:00 pm Self. Reflexive. AMcE Creative Arts Aug 15 - Sep 27 11:00 am - 5:00 pm Opening Reception - Sandra Low - Cheesy Artists & Makers Studios – San Gabriel Aug 15 - Sep 26 3:00 pm - 6:00 pm Samella! Black as Lacquer and Iron Claremont Lewis Museum of Art Aug 15 - Nov 15 5:00 pm - 4:00 pm Samella! Black as Laquer and Iron Claremont Lewis Museum of Art Aug 15 - Nov 15 5:00 pm - 4:00 pm "The Late Summer Show" Heather Gaudio FIne Art Aug 22 - Oct 3 10:30 am - 5:30 pm KALEIDOSCOPE: A Reflection of Staff Artwork ArtCenter College of Design South Campus Aug 28 - Sep 22 10:00 am - 8:00 pm Kaleidoscope: A Reflection of Staff Artwork Fine Art Gallery ArtCenter College of Design Aug 28 - Sep 22 10:00 am - 8:00 pm JANE ZWEIBEL: DREAMS IN ACTION The Painting Center Sep 1 - Sep 26 All Day MEGAN MARLATT: MYTHS AND MUMMERS The Painting Center Sep 1 - Sep 26 All Day Hold Each Other's Hands: Trans Mutual Aid, 1966-1996 Oxy Arts Sep 1 - Dec 5 11:00 am - 4:00 pm TAG presents 6 Solo Shows and Features TAG Artists in Group Show: Light The Artists Gallery Sep 2 - Sep 24 1:00 pm - 7:00 pm 1 2 3 4 5 >
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## Events
- [The Winter Show 2027](https://artillerymag.com/events/the-winter-show-2027/): From January 22–31, 2027, join The Winter Show at the Park Avenue Armory in New York City. Celebrated as America’s premier art, antiques, and design fair, The Winter Show brings together over 70 internationally renowned dealers, presenting extraordinary works that span 5,000 years of history and cultures.
- [Nüart Gallery](https://artillerymag.com/events/nuart-gallery-2/): https://www.nuartgallery.com
- [Nüart Gallery](https://artillerymag.com/events/nuart-gallery/): https://www.nuartgallery.com
- [Édouard Manet, Jeanne Demarsy, and the Art of Parisian Chic](https://artillerymag.com/events/edouard-manet-jeanne-demarsy-and-the-art-of-parisian-chic/): Édouard Manet’s paintings of modern Parisiennes offer more than elegant exteriors; they reflect the complex ways women fashioned their identities in late 19th‑century Paris. This talk examines Jeanne Demarsy, the model for Manet’s Jeanne (1882), whom critics would declare the most beautiful woman in the world, as a case study in the construction of quintessential Parisian chic.
- [Chris Stills Concert](https://artillerymag.com/events/chris-stills-concert/): Chris Stills is a versatile rocker like his father, Stephen. He’s released 6 records and his music can be heard in film soundtracks films like I, Tonya (in which you can hear him sing an outstanding version of the BeeGees “How Can You Mend a Broken Heart”) and he has toured and recorded with artists including Beck, Rufus Wainwright, Mandy Moore, Brandi Carlile and many more.
- [In Community: LACP’s Annual Members’ Exhibition](https://artillerymag.com/events/in-community-lacps-annual-members-exhibition-2/): LACP members belong to a thriving international network of peers and collaborators. Celebrating their creative shared space, this exhibition considers the relationship between photography and community building, and the photographic act as the foundation for connection.
- [In Community: LACP’s Annual Members’ Exhibition](https://artillerymag.com/events/in-community-lacps-annual-members-exhibition/): LACP members belong to a thriving international network of peers and collaborators. Celebrating their creative shared space, this exhibition considers the relationship between photography and community building, and the photographic act as the foundation for connection.
- [SHAPESHIFTERS Artist’s Talk & Closing Reception](https://artillerymag.com/events/shapeshifters-artists-talk-closing-reception/): October Exhibition Diversions Fine Arts Gallery SHAPESHIFTERS On view: Oct 10th – Nov 1st , 2026	Reception: Oct 10th, 2026, 4-7 p.m. Artist’s Talk /Closing: Nov 1st, 2026, 1-3 p.m. Regular Gallery Hours: 12-4 Thursday-Sunday It’s the season of change, spirits in the air, the thinness of the veil between one world and the next. In this hauntingly beautiful time, the shape shifters arise, bringing with them a galvanizing view of sculptural form, geometric shapes, sinuous curves and twists. The work of artists Lydia Nakashima Degarrod, Karena Massengill, and Dave Clark is utterly unique. The intricate and potent imagery each artist forms creates a delicate balance of meaning and magic, whether as a mobile, soft sculpture, lustrous stainless steel and cast glass work, or a mixture of dyes, plaster, metal, wood, acrylics, and wire. Quite literally, these artists make the shape of their materials shift into fascinating new forms. Karena Massengill Working in her own vast San Pedro Studio, this award-winning artist creates using stainless mild steel, glass, and other recycled found objects. From stunning figurative to abstract wall sculptures to public artworks throughout California and Canada, her electrifying, graceful work surges with both motion and serenity. Dave Clark Clark’s marvelous visual sleight of hand and eye dictates multiple meanings in his work, whether 2D or 3D sculptures. Inhabiting a wildly joyful yet supremely contemplative world of playful yet intuitive one-of-a-kind creations, Clark includes wall sculpture, stand-alone floor art, and even tables that are both pure art and fabulously functional. Lydia Nakashima Degarrod As the creator of lush, involving interdisciplinary art, Degarrod is influenced by the colors and textures of what surrounds her. The artist’s powerful, renowned work vibrates with complex meaning and a delicate but profound sensibility made of handmade paper, acrylics, and natural elements. Her work casts a spiritual spell of the very best kind. A phantom thread rewoven, shedding skin for a cloak of stars. -Anonymous
- [SHAPESHIFTERS Opening Reception](https://artillerymag.com/events/shapeshifters-opening-reception/): SHAPESHIFTERS On view: Oct 10th – Nov 1st , 2026	Reception: Oct 10th, 2026, 4-7 p.m. Artist’s Talk /Closing: Nov 1st, 2026, 1-3 p.m. Regular Gallery Hours: 12-4 Thursday-Sunday It’s the season of change, spirits in the air, the thinness of the veil between one world and the next. In this hauntingly beautiful time, the shape shifters arise, bringing with them a galvanizing view of sculptural form, geometric shapes, sinuous curves and twists. The work of artists Lydia Nakashima Degarrod, Karena Massengill, and Dave Clark is utterly unique. The intricate and potent imagery each artist forms creates a delicate balance of meaning and magic, whether as a mobile, soft sculpture, lustrous stainless steel and cast glass work, or a mixture of dyes, plaster, metal, wood, acrylics, and wire. Quite literally, these artists make the shape of their materials shift into fascinating new forms. Karena Massengill Working in her own vast San Pedro Studio, this award-winning artist creates using stainless mild steel, glass, and other recycled found objects. From stunning figurative to abstract wall sculptures to public artworks throughout California and Canada, her electrifying, graceful work surges with both motion and serenity. Dave Clark Clark’s marvelous visual sleight of hand and eye dictates multiple meanings in his work, whether 2D or 3D sculptures. Inhabiting a wildly joyful yet supremely contemplative world of playful yet intuitive one-of-a-kind creations, Clark includes wall sculpture, stand-alone floor art, and even tables that are both pure art and fabulously functional. Lydia Nakashima Degarrod As the creator of lush, involving interdisciplinary art, Degarrod is influenced by the colors and textures of what surrounds her. The artist’s powerful, renowned work vibrates with complex meaning and a delicate but profound sensibility made of handmade paper, acrylics, and natural elements. Her work casts a spiritual spell of the very best kind. A phantom thread rewoven, shedding skin for a cloak of stars. -Anonymous
- [Michael Prentice Retrospective-Forged in Stone](https://artillerymag.com/events/michael-prentice-retrospective-forged-in-stone/): WHO:	Michael Prentice, acclaimed American post-war and contemporary sculptor, philanthropist and subject of upcoming documentary film.
- [Opening reception—”The Eternal Quality of Aesthetic Joy”: Laura Andreson and Her Legacy](https://artillerymag.com/events/opening-reception-the-eternal-quality-of-aesthetic-joy-laura-andreson-and-her-legacy/): Join in celebrating Andreson’s long, prolific and impactful career and the work of those she taught and was mentored by.
- [TransSister Radio: Mutual Aid Stories on the Air](https://artillerymag.com/events/transsister-radio-mutual-aid-stories-on-the-air/): A selection of trans mutual aid stories and oral histories related to the Hold Each Other’s Hands exhibition will be transmitted via a hyperlocal FM radio signal. The program title references TransSisters: The Journal of Transsexual Feminism published in 1993-1995. This transmission is the result of a collective curation effort by Umi Hsu and the Occidental College students enrolled in Hsu's fall 2026 course, Curating Trans History: Archives, Art, and Politics.
- [Spirit in the Dark Body: Black Queer Expressions of the Im/material](https://artillerymag.com/events/spirit-in-the-dark-body-black-queer-expressions-of-the-im-material/): Through visual art and sound, Spirit in the Dark Body explores black queer spiritualities in their various forms in order to reflect that something beyond the physical– whether it be community, ritual, care, love, or something else– that moves in/with/through black queer bodies. “Dark body” symbolizes the mystery, refusals, obscurations, layers of fabulosity, liminality, and becoming of blackness, queerness, and spirituality. Where queer spirituality has at times been considered insignificant or even non-existent—immaterial—this presentation reclaims immateriality (the nonmaterial world) through the material bodies that hold it for collective liberation. This sensorium invites engagement with the people, the stories, the embodied experiences, the illegibilities, and the aliveness of black queer people– well-known and everyday, historical (namely, Marsha P. Johnson, James Baldwin, and Pauli Murray) and contemporary.
- [Closing Reception | A Gaze Through Time: Contemporary Reflections on Memory and History](https://artillerymag.com/events/closing-reception-a-gaze-through-time-contemporary-reflections-on-memory-and-history/): We look forward to welcoming you for an evening celebrating "A Gaze Through Time: Contemporary Reflections on Memory and History" as the exhibition draws to a close.
- [Opening Reception: Artifacts from an Unborn Empire](https://artillerymag.com/events/opening-reception-artifacts-from-an-unborn-empire/): ‘Artifacts from an Unborn Empire’ gathers artists to reconsider how civilizations are formed and who gets to define them. Through a range of natural and manufactured materials, they play with and challenge the systems, stories, and symbols that shape our sense of power, history, and belonging. Blending imagination with critique, the exhibition explores cultural myths, colonial legacies, and the forces that construct contemporary life. Timed with the 250th anniversary of the United States, it asks: what kinds of empires do we inherit, and what new ones might rise in their place?
- [Bryan Ida Portrait Remix – 2026 Solo Exhibition](https://artillerymag.com/events/bryan-ida-portrait-remix-2026-solo-exhibition/): Bluerider ART LA｜‘Bryan Ida: Portrait Remix’ Opening Reception with the artist on Sat. 19th Sept., 3–6pm (Opening Ceremony 3:30pm, open to public)
- [Power of Mystery: 100 Years](https://artillerymag.com/events/power-of-mystery-100-years-3/): The Robert Koch Gallery is pleased to announce Power of Mystery: 100 Years, an exhibition drawn from the gallery’s inventory that explores photography’s longstanding relationship with the mystery in the image. Spanning the past century, the exhibition brings together works ranging from Surrealism and modernism to street photography, landscape, and contemporary practice. Across these varied approaches, the photographs present moments that are not immediately explained, inspiring a sense of wonder and inviting the viewer to look more closely, consider what might be taking place within the image, and develop their own interpretation.
- [Power of Mystery: 100 Years](https://artillerymag.com/events/power-of-mystery-100-years-2/): The Robert Koch Gallery is pleased to announce Power of Mystery: 100 Years, an exhibition drawn from the gallery’s inventory that explores photography’s longstanding relationship with the mystery in the image. Spanning the past century, the exhibition brings together works ranging from Surrealism and modernism to street photography, landscape, and contemporary practice. Across these varied approaches, the photographs present moments that are not immediately explained, inspiring a sense of wonder and inviting the viewer to look more closely, consider what might be taking place within the image, and develop their own interpretation.
- [Power of Mystery: 100 Years](https://artillerymag.com/events/power-of-mystery-100-years/): The Robert Koch Gallery is pleased to announce Power of Mystery: 100 Years, an exhibition drawn from the gallery’s inventory that explores photography’s longstanding relationship with the mystery in the image. Spanning the past century, the exhibition brings together works ranging from Surrealism and modernism to street photography, landscape, and contemporary practice. Across these varied approaches, the photographs present moments that are not immediately explained, inspiring a sense of wonder and inviting the viewer to look more closely, consider what might be taking place within the image, and develop their own interpretation.
- [LMU’s Laband Art Gallery Presents “Phyllis Green: Of My Own Making” Sept. 24 to Dec. 5](https://artillerymag.com/events/lmus-laband-art-gallery-presents-phyllis-green-of-my-own-making-sept-24-to-dec-5/): LMU’s Laband Art Gallery presents its fall 2026 exhibition, “Phyllis Green: Of My Own Making” from Sept. 24 to Dec. 5, 2026. “Of My Own Making” brings together 15 years of artwork made by Los Angeles-based artist Phyllis Green, including more than 25 insightful and witty sculptural and performative objects that interact with the body and its environs.
- [Translocal Conclave: Gathering Sites of Memory](https://artillerymag.com/events/translocal-conclave-gathering-sites-of-memory/): In collaboration with Serbian-based Gallery Blok
- [Colors of Connection: Rooted and Rising](https://artillerymag.com/events/colors-of-connection-rooted-and-rising/): Please join us for Colors of Connection: Rooted and Rising, on Thursday, October 15, 2026, at the Skirball Cultural Center. This year’s theme reflects LA Commons’ commitment to investing in neighborhoods, fostering opportunity, and building foundations that support thriving communities across Los Angeles, from advancing cultural preservation to the official state designation of South LA as a Black Cultural District.
- [Kathleen Henderson: Clappers](https://artillerymag.com/events/kathleen-henderson-clappers/): Through allegory, satire, and narrative, Kathleen Henderson presents a new suite of drawings that confronts the intersecting realities of ecological chaos, the rise of authoritarianism, and the fragility of contemporary American life. The exhibition reimagines death not as a dramatic visitor but as an ordinary participant in life—a quiet metaphor for living amid upheaval and uncertainty.  “This particular suite of drawings is an ongoing fretful reflection on the rapid escalation of climate change, its effects on the Earth's plant and animal species as well as the increasingly absurd and insane protestations to the contrary by the extreme right and their partners in crime; fascistic tech overlords.” Henderson was Artist in Residence at the Mahler and LeWitt Studios in Spoleto, Italy this past winter, and there began thinking about the origins of fascism in Italy and Spain. She came across the life story of Marquis de Mores—a French aristocrat who is generally referred to as the first fascist. In the late 1800’s, de Mores went to the Dakotas and purchased thousands of acres of land along with cattle and horses from Sitting Bull. After failing to shake up the Chicago beef industry, he retreated to Paris and was instrumental in stirring up an anti-Semitic “shitstorm” and later became known as the Butcher of Paris. This story resonated with the artist as it connected for Henderson a story from the so-called Great American West to the early purges of 20th-century European fascism.   “Most people I know can speak to the horrors of Native American genocide and enslavement but also somehow maintain a sense that America is a country that is an experiment in democracy and at times is/was moving towards a better society, a liberal democracy. As fascism has come to America, many Americans have been slow to believe it could ever be possible or that it really is here.” Clouds flood the land. Americans tend to appearances. Dominating the scenes are pairs making the best of it—death makes the bed. Employing greasy oil sticks and dilutions of them, Henderson uses the power of resonant lines and saturated shading to present the haplessness of daily life while extremists jail, deport, kill, and trample rights. ABOUT THE ARTIST Kathleen Henderson is a visual artist based in the Delaware River Valley, Pennsylvania. Her practice draws from decades spent navigating the space between illusion and reality. Before devoting herself primarily to drawing, Henderson painted theatrical sets, film productions, architectural facades, circus rings, and elaborate environments that transformed ordinary spaces into convincing fictions. This experience—moving fluidly between art, labor, performance, and storytelling—continues to inform a body of work that is at once humorous, psychologically charged, and acutely observant. Her images occupy the same space as her stories: where the mundane becomes surreal, fiction quietly inhabits reality, and the familiar reveals its underlying strangeness. Henderson has presented solo exhibitions throughout Los Angeles and the San Francisco Bay Area, as well as at The Drawing Center in New York. She is the recipient of a National Endowment for the Arts grant, and her work is included in the collections of the Hammer Museum and the Los Angeles County Museum of Art. She was a staff artist at Creative Growth Art Center in Oakland for over ten years and was the founding editor of the Creative Growth magazine, which showcases the unfolding and expanding world of art and disability. She is the executive director of Studio Route 29, a progressive art studio in Frenchtown, New Jersey that opened in 2022. Henderson is represented by Track 16 Gallery, where Clappers is her third solo exhibition.
- [Jacob Fenton: Life](https://artillerymag.com/events/jacob-fenton-life/): Jacob Fenton's "Life" is the inaugural exhibition at Brewer Martin. Open September 18 through October 31, 2026.
- [Opening of “Structure/Substructure”](https://artillerymag.com/events/opening-of-structure-substructure/): "Structure/Substructure" - An exhibition about both the obvious and the hidden, the myth and the reality of living in Los Angeles. From the city's amazing ARCHITECTURE to the INFRASTRUCTURE built to move the myth around (FREEWAYS to the beach, interchanges to the studios, BRIDGES to downtown glamour) to the graffiti vs. curated street art, we invite you to LOOK at the sanctioned beauty vs. the un-celebrated and the necessary - both happening on the same concrete path.
- [GROUP ART SHOW](https://artillerymag.com/events/group-art-show/): WHEN Opening: Saturday, October 3, 10:00 AM–4:00 PM Closing Dance: Saturday, October 10, 7:00 PM–12:00 AM WHERE SCHOOL 234 E Ave 33 Los Angeles, CA 90031 SCHOOL, a contemporary arts project space housed in an abandoned school in Lincoln Heights, presents its inaugural exhibition, Homecoming. Opening Saturday, October 3, from 10 AM–4 PM, in conjunction with Los Angeles Design Weekend, Homecoming presents over twenty artists spanning disciplines and mediums, from emerging to established. Built in 1903 as the Florence Critchley School for Wayward Girls, and later a charter high school, what remains are the bones of a building primed for new life, still echoing with its history. Emptiness wants filling. So we inhabit, activate, make space real with our objects and bodies, make bodies real with objects and space. We fill the space with things of interest. Opportunities for attention. Past and future edging softly against the now, inhabited, fulfilled. Is it haunted? It is now. Nostalgia may be tempting, but the beauty of memory is all that remains. Actual return to the cherished moment, a building in disrepair, the half-dreamt remembrances of youth—impossible. They always tell us you can never go home. So our Homecoming is a return to self, the self that was and the self that will be. It is a nature, a character of being, rather than a place, to which one can always go home. Here, in the hollowed-out classrooms, hung on the auditorium walls, throughout the hallways with their echoing linoleum, painting, sculpture, ceramics, film, and sound, and poetry, along with less readily classified installations, will be on view by appointment through October 10, culminating in a closing dance that evening. Curated by artists Logan Criley and Allison Baar, Homecoming presents work by: Alexis Oliver Allison Baar Anna Bane Ari Salka Ben Borden Carrie Cook Christopher DeLoach Cyril Kuhn Dakota Higgins Daniella Vuvjovik Erin Calla Watson Esteban Shimpf Francy Graham Jessalyn Brooks Joe Sola Jon Seaton Logan Criley Logan Wolfe Lydia Ren / 99 Warehouse Milan Aguirre Nichole Fitch Nick Flessa Raghvi Bhatia Skye Chamberlain Sophie Lattu Victoria Stöcker Zoe Koke
- [OPaf 8 (Other Places art fair)](https://artillerymag.com/events/opaf-8-other-places-art-fair/): OPaf 8 features booths by local, national, and international contemporary galleries and artist projects gathering in and around Battery Leary-Merriam, a decommissioned Army battery on the grounds of Angels Gate Cultural Center. Operating outside traditional art systems, Other Places art fair provides a platform for artists of all backgrounds and socioeconomic statuses, creating an inclusive, entirely outdoor space for artistic projects united by the intention to exist in alternative settings free of commercial boundaries.
- [“Escalator” by Jesse Benson](https://artillerymag.com/events/escalator-by-jesse-benson/): When Jesse sent me his notes for this exhibition, the first thing he shared was, “This is a show for dark times.” And when someone who is as cordial, compassionate, and complicated as Jesse sends you something as heavy as that, your initial response likely ought to be to sit with the statement, at least for a moment; I chose to sit with the accompanying images and objects, sit with his ideas, and then sit with my own ideas of what exactly I was looking at for quite some time.
- [The Amazing Portrait and Story of Mai](https://artillerymag.com/events/the-amazing-portrait-and-story-of-mai/): https://www.getty.edu/calendar/portrait-story-mai/
- [Paul Pfeiffer and Britt Salvesen in Conversation](https://artillerymag.com/events/paul-pfeiffer-and-britt-salvesen-in-conversation/): On the occasion of Paul Pfeiffer’s solo exhibition, Olympia, join us for a conversation with artist Paul Pfeiffer and Britt Salvesen, Curator and Department Head at LACMA, as they discuss the spectacle of sport and the upcoming LA Olympics.
- [OPENING – Paul Pfeiffer at Perrotin Los Angeles – September 18](https://artillerymag.com/events/opening-paul-pfeiffer-at-perrotin-los-angeles-september-18/)
- [Melrose Gallery Walk](https://artillerymag.com/events/melrose-gallery-walk/): Join us for the Melrose Gallery Walk on Friday, September 25, from 5–8 PM.
- [Lecture by Dee Farmer](https://artillerymag.com/events/lecture-by-dee-farmer/): Transgender legal expert, advocate, and poet Dee Farmer will give a talk about her multi-decade advocacy for the incarcerated trans community. Farmer was the first transgender plaintiff to bring a case before the U.S. Supreme Court. Farmer v. Brennan was heard by the United States Supreme Court in 1994 and the court ruled unanimously in favor of Farmer. This case was foundational to the Prison Rape Elimination Act of 2003.
- [Transgender Operations on Illegal Aliens That Are In Prison](https://artillerymag.com/events/transgender-operations-on-illegal-aliens-that-are-in-prison/): In a lecture performance in conversation with her video installation included in the exhibition, Wesleigh Gates traces the historical conjunctures between transfeminine life and the figure of the extraterrestrial. The performance juxtaposes historical trans activists Angela Douglas and Marsha P. Johnson with contemporary right-wing politicians and pundits, exploring how both have found meaning in connecting trans womanhood to alien beings. Gates particularly highlights the imbrication of trans women and UFOs with carceral politics in the United States, opening towards vectors of inter- (and perhaps more importantly, intra-)planetary solidarity in the face of regimes of security, surveillance, and control.
- [Mix and Swap: Trans Mutual Aid Mixer and Clothing Swap](https://artillerymag.com/events/mix-and-swap-trans-mutual-aid-mixer-and-clothing-swap/): Come and meet community and mutual aid organizers in the greater Los Angeles area. You are invited to participate in “speed dating” activities to co-mingle with other movement makers and thinkers.
- [Curatorial Walkthrough with Umi Hsu](https://artillerymag.com/events/curatorial-walkthrough-with-umi-hsu/): Curator Umi Hsu will give a tour of the Hold Each Other’s Hands exhibition. Visitors will get a glimpse into the artworks and stories behind working with the artists and the historical contexts of the archival collection featured in the exhibition.
- [Hold Each Other’s Hands: Trans Mutual Aid, 1966-1996](https://artillerymag.com/events/hold-each-others-hands-trans-mutual-aid-1966-1996/): Hold Each Other’s Hands chronicles a history of mutual aid led by transgender and gender expansive people. This exhibition explores how individuals with various relationships to gender nonconformity have worked together to develop inventive mutualistic models to create communities. With archival installations, contemporary artworks, featured speakers, and community programming, Hold Each Other’s Hands will hold space for expansive thinking and public dialog around collectivity, co-existence, and care.
- [ARTIFACTS: Art Reception with Mark Robert Halper](https://artillerymag.com/events/artifacts-art-reception-with-mark-robert-halper/): Meet Los Angeles artist Mark Robert Halper at a reception for ARTIFACTS, an exhibition of photographs that transform familiar objects into unexpected worlds of memory and imagination. Join the artist at City Club LA on Friday, November 13, 2026, from 6 to 8 p.m. to see the work and enjoy light bites and wine.
- [Home, Elsewhere](https://artillerymag.com/events/home-elsewhere/): Truffs Contemporary Arts Foundation (TCAF) presents Home, Elsewhere, a group exhibition featuring Saba Sadr, Carly França, Fía Benitez and Brenda Gonzalez as part of Los Angeles Design Weekend.
- [Poster Pals: MAZZA & MUNK ONE](https://artillerymag.com/events/poster-pals-mazza-munk-one/): Opening Reception: Saturday, September 19, 6–10 PM
- [Artist Talk with Internationally Acclaimed Sculptor Atticus Adams](https://artillerymag.com/events/artist-talk-with-internationally-acclaimed-sculptor-atticus-adams/): Artspace Warehouse is pleased to welcome internationally acclaimed sculptor Atticus Adams for an afternoon artist talk on Saturday, September 19, from 2:00 to 4:00 PM. Known for transforming industrial metal mesh into expressive sculptural forms that appear organic, architectural, and weightless, Adams will discuss his material process, creative influences, and the evolution of his practice.
- [Vanessa Prager: Talk to Me](https://artillerymag.com/events/vanessa-prager-talk-to-me/)
- [Exhibition Opening | Xingzi Gu: Periphery Dreaming; Katya Labowe-Stoll: Where Willows Rise; Group Show: Aleza Zheng, Daniel Wang, Tianlian Liu, Xiangxi Zhang, Paul Chan Studio x Jeremy Kim, John Wu: Tête-bêche](https://artillerymag.com/events/exhibition-opening-xingzi-gu-periphery-dreaming-katya-labowe-stoll-where-willows-rise-group-show-aleza-zheng-daniel-wang-tianlian-liu-xiangxi-zhang-paul-chan-studio-x-jeremy-kim-john-wu-t/): Exhibition Descriptions:
- [Kosuke Ajiro Excavation Record I – Sayonara](https://artillerymag.com/events/kosuke-ajiro-excavation-record-i-sayonara/): The opening reception will take place on Saturday, September 12 from 6:00 pm to 8:00 pm. Press members may contact GR gallery for a private viewing and/or interviews with the artist. Visitors who wish to attend the opening reception may RSVP by contacting the gallery.
- [Whispers: Women, Animals and Chimeras](https://artillerymag.com/events/whispers-women-animals-and-chimeras/): Aabee Bleue Project is pleased to present Whispers: Women, Animals and Chimeras, a solo exhibition by Elika Hedayat. The exhibition will be on view from September 26 through October 24, 2026, at Aabee Bleue Project in Los Angeles. What if mythology could be retold through those who have remained at its margins? What if women, animals, and hybrid creatures became the protagonists of histories that have long centered heroes, kings, and conquerors? In Whispers: Women, Animals and Chimeras, Elika Hedayat presents a new body of work that draws from Persian mythology, feminist thought, and speculative imagination. Moving between memory, history, and fiction, the exhibition revisits narratives from the Shahnameh (Book of Kings) through a contemporary lens, shifting attention toward figures that have often occupied secondary roles within traditional accounts. Women, animals, and chimerical beings emerge throughout the exhibition as active agents rather than symbolic accessories. Their bodies transform, merge, and evolve, inhabiting spaces where the boundaries between human, animal, and mythical life become fluid. Through these shifting forms, Hedayat constructs alternative narratives that challenge established hierarchies and invite new ways of imagining relationships between power, identity, and the natural world. Alongside these works, the exhibition includes paintings from Haroum, an ongoing series inspired by mythology as well as feminist and ecological science fiction. Drawing on literary references to Haroum, a legendary city governed by learned women living in harmony with their environment, Hedayat envisions an embryonic world in formation: a speculative landscape where coexistence, transformation, and collective imagination shape new possibilities for the future. Blending historical references with contemporary realities, Hedayat's works move between documentary traces and dreamlike invention. Reality, memory, and imagination intertwine to create narratives that are at once deeply personal and broadly political, connecting ancient stories to present-day questions surrounding gender, ecology, and the social fabric of the region. Rather than reconstructing the past, Whispers: Women, Animals and Chimeras opens a space where myth becomes a living language through which forgotten voices, alternative futures, and new forms of belonging can emerge
- [NEVER FORGET TO REMEMBER // SEAN POWELL + SANDY KUPFER](https://artillerymag.com/events/never-forget-to-remember-sean-powell-sandy-kupfer/): NEVER FORGET TO REMEMBER IS A CO-SOLO SHOW FEATURING PAINTINGS BY SEAN POWELL AND SANDY KUPFER — A PAIR OF PUNK POLYGLOT PURISTS THAT OPENS FRIDAY SEPTEMBER 11TH 2026 FROM 7-11PM
- [High Fantasy / Dark Dungeon](https://artillerymag.com/events/high-fantasy-dark-dungeon/): Superchief Gallery and Titmouse present a massive two-day Ren Faire and art show. Features a group exhibition with over 50 artists, live wrestling presented by MCDeathBear and Casanova Valentine hosted by John Goblikon, and armored knight duels by The Armored League. Includes an artisan market, an indoor RPG gaming arena for MTG and Realm Runners, femme faerie dancers, food vendors, mead, and a $250 costume contest. Featured artists include Skinner, Wizard of Barge, Parker Day, Robin Eisenberg, Arik Roper, and many others. Events run throughout the weekend of September 12th and 13th.
- [This Land Is Your Land: Stewarding the Earth Through a Changing Climate](https://artillerymag.com/events/this-land-is-your-land-stewarding-the-earth-through-a-changing-climate/): Opening Reception: Saturday, September 19, 2026, 5-8 pm / Discussion Panel: 5:30 – 6:30 pm
- [DIVERSE/CITY 5  at Underdog Bookstore](https://artillerymag.com/events/diverse-city-5-at-underdog-bookstore/): Curator A. Laura Brody presents Diverse City 5, a collaboration between The Arroyo Arts Collective and Underdog Bookstore, featuring artists Shirley Huang and Betty Wan Hamada.
- [Opening Reception for “Anida Yoeu Ali: The Buddhist Bug”](https://artillerymag.com/events/opening-reception-for-anida-yoeu-ali-the-buddhist-bug/): Join us as we celebrate the opening reception and performance of Anida Yoeu Ali: The Buddhist Bug!
- [Kristi Head + Mark Acetelli: Lying, but only a little](https://artillerymag.com/events/kristi-head-mark-acetelli-lying-but-only-a-little/): INTERVAL presents Lying, but only a little, bringing together Los Angeles-based artists Mark Acetelli and Kristi Head. Acetelli’s work moves through subtraction and emotional clarity, while Head creates imagined landscapes shaped by memory, colour and movement. The exhibition is on view September 26–October 10, 2026 at INTERVAL in Los Angeles.
- [National Watercolor Society’s 106th International Open Exhibition](https://artillerymag.com/events/national-watercolor-societys-106th-international-open-exhibition/): National Watercolor Society’s 106th International Open Exhibition Opens Thursday, October 1, during San Pedro’s popular First Thursday ArtWalk
- [Lucas Reiner – Trees](https://artillerymag.com/events/lucas-reiner-trees/): Von Lintel Gallery is pleased to present Trees, the first exhibition at the gallery by Lucas Reiner. The exhibition brings together work drawn from Reiner’s sustained observation of curbside trees and the formal tensions that shape them.
- [Mark Mennin – Despotika, Fallen Dictators](https://artillerymag.com/events/mark-mennin-despotika-fallen-dictators/): Von Lintel Gallery is pleased to announce DESPOTIKA, Fallen Dictators, the first gallery exhibition of Mark Mennin’s work in over twenty years and his first collaboration with the gallery since 1997.
- [ARCH / TURE : The Intersection of architecture and nature](https://artillerymag.com/events/arch-ture-the-intersection-of-architecture-and-nature/): Join us for Blu Art's premiere art exhibition at Gardena's Toyo Art Gallery on Saturday night. You'll enjoy live music, nosh, and seeing great explorations in art.
- [In Conversation: Glenn Ligon, Mirsini Amidon & Dr. Kellie Jones](https://artillerymag.com/events/in-conversation-glenn-ligon-mirsini-amidon-dr-kellie-jones/): On the occasion of the openings of ‘Glenn Ligon. Sit So Your Back Isn’t Against The Door’ and ‘Jack Whitten. The Numinous,’ please join us in the Garden on Wednesday 30 September at 6 pm for a conversation with artist Glenn Ligon, Mirsini Amidon, daughter of Jack Whitten, and writer and professor Dr. Kellie Jones.
- [In Conversation: Carol S. Eliel & Mary Weatherford on David Smith](https://artillerymag.com/events/in-conversation-carol-s-eliel-mary-weatherford-on-david-smith-2/): Join us in West Hollywood for a conversation between Senior Curator Emerita of Modern Art Carol S. Eliel and artist Mary Weatherford, in celebration of ‘Night Window. David Smith Spray Paintings, 1958 – 1964.’
- [In Conversation: Carol S. Eliel & Mary Weatherford on David Smith](https://artillerymag.com/events/in-conversation-carol-s-eliel-mary-weatherford-on-david-smith/): Join us in West Hollywood for a conversation between Senior Curator Emerita of Modern Art Carol S. Eliel and artist Mary Weatherford, in celebration of ‘Night Window. David Smith Spray Paintings, 1958 – 1964.’
- [Baker’s Dozen | BLAM](https://artillerymag.com/events/bakers-dozen-blam/): FOR IMMEDIATE RELEASE
- [Raquel Maulwurf: The Collective Memory Archive](https://artillerymag.com/events/raquel-maulwurf-the-collective-memory-archive/): Opening Reception Friday, September 25, 2026, 6-10PM | The exhibition will be opened at 6:30PM by Pauline Genee, Head of Cultural Affairs USA of the Consulate General of the Kingdom of the Netherlands in New York.
- [E37: Homing](https://artillerymag.com/events/e37-homing/): https://laartcore.org/e37-homing
- [Patrick Arnold: A Mansion Has Many Rooms](https://artillerymag.com/events/patrick-arnold-a-mansion-has-many-rooms/): “Anyway, to Make a Long Story Short” - Tim Curry / “Too Late!” - Everybody
- [Jeannie Rhyu: Sixth Ocean, Eighth Sea](https://artillerymag.com/events/jeannie-rhyu-sixth-ocean-eighth-sea/): “We were dancing, we were wild in the ocean” - Jessie Reyez
- [Ellen Starr Lyon: Nesting Rituals](https://artillerymag.com/events/ellen-starr-lyon-nesting-rituals/): The Painting Center is pleased to present Nesting Rituals, a solo exhibition of oil paintings by artist Ellen Starr Lyon in the Project Room. The exhibition will run from September 29 through October 24, 2026, with an opening reception on Thursday, October 8, from 5 to 8 pm.
- [Kathleen Beausoleil: Meet at the Ferris Wheel](https://artillerymag.com/events/kathleen-beausoleil-meet-at-the-ferris-wheel/): The Painting Center is pleased to present Meet at the Ferris Wheel, a solo exhibition of new oil paintings by Kathleen Beausoleil in the Main Gallery. Centered on the American town fair, the exhibition of 15 oil paintings that explore how crowds form, how people connect through repeated encounters, and how shared rituals create a sense of belonging. The exhibition will run from September 29 through October 24, 2026, with an opening reception on Thursday, October 8, from 5 to 8 pm.
- [Charles Arnoldi, Ron Cooper, Laddie John Dill | Still Friends After All These Years](https://artillerymag.com/events/charles-arnoldi-ron-cooper-laddie-john-dill-still-friends-after-all-these-years-2/): For immediate release:
- [Charles Arnoldi, Ron Cooper, Laddie John Dill | Still Friends After All These Years](https://artillerymag.com/events/charles-arnoldi-ron-cooper-laddie-john-dill-still-friends-after-all-these-years/): For immediate release:
- [Exhibition Title: the very substance of ourselves](https://artillerymag.com/events/exhibition-title-the-very-substance-of-ourselves/): The USC Roski MA '27 Cohort in Curatorial Practices and the Public Sphere presents the very substance of ourselves. The exhibition traces the connective tissues that bridge our physical bodies and interiorities with the constructed and natural landscapes that we inhabit. Grounded in posthumanist philosopher Stacy Alaimo’s concept of transcorporeality, the exhibition theorizes human bodies as deeply enmeshed in an active and lively world of matter, rather than sole actors in an inert environment. The included artists explore many forms of transformation—from invasive to intangible—as they relate to physicality, embodiment, memory and identity across time and space. The very substance of ourselves invites viewers to consider how the self is continually reshaped through contact with others, extending outward and merging with the world around us. Featured Artists Ophelia Arc • Isabel Avila • Brenda Barrios • Jay Carlon • Alexandra Carter • Tracy L. Chandler • courtney coles • Olivia Rae Harris • Shana Hoehn • Maria Maea • Yong Soon Min • Debra Scacco MA 2027 Curatorial Team Meg Burns • Sam Garduño Marin • Anabelle Gunderson • Eunice Han • Courtney King • Jiwon Lee • Lexi Myrie • Jialiang Wang Opening Reception Thursday, September 17, 2026 | 6:00 pm – 9:00 pm
- [​Clio Art Fair 25th Edition | September 24-27, 2026](https://artillerymag.com/events/clio-art-fair-25th-edition-september-24-27-2026-2/): "Clio Art Fair, the leading independent art fair that champions self-represented artists, returns to Chelsea this September with its 25th edition: September 24-27, 2026. The edition will feature a new roster of international artists and artist collectives, offering collectors, curators, art professionals, and the public a fresh and diverse experience across both weekends.
- [​Clio Art Fair 25th Edition | September 24-27, 2026](https://artillerymag.com/events/clio-art-fair-25th-edition-september-24-27-2026/): "Clio Art Fair, the leading independent art fair that champions self-represented artists, returns to Chelsea this September with its 25th edition: September 24-27, 2026. The edition will feature a new roster of international artists and artist collectives, offering collectors, curators, art professionals, and the public a fresh and diverse experience across both weekends.
- [​Clio Art Fair 24th Edition | September 17-20, 2026](https://artillerymag.com/events/clio-art-fair-24th-edition-september-17-20-2026/): "Clio Art Fair, the leading independent art fair that champions self-represented artists, returns to Chelsea this September with its 24th edition: September 17–20, 2026. The edition will feature a new roster of international artists and artist collectives, offering collectors, curators, art professionals, and the public a fresh and diverse experience across both weekends.
- [A Change in Our Nature: Villeroy & Boch](https://artillerymag.com/events/a-change-in-our-nature-villeroy-boch/): Through ceramic works produced at the Villeroy & Boch factory in Mettlach, Germany, A Change in Our Nature traces the evolving conceptualization of nature amid industrialization.
- [Kaleidoscope: A Reflection of Staff Artwork](https://artillerymag.com/events/kaleidoscope-a-reflection-of-staff-artwork-2/): Featuring works across a range of disciplines, materials, and modes of expression, “Kaleidoscope” is the fourth annual art exhibition celebrating the creative practices of ArtCenter staff.
- [Roberta Gentry: Blood Orange](https://artillerymag.com/events/roberta-gentry-blood-orange/): Gentry’s new body of work is a visionary elaboration of elements from La Dame à la licorne (The Lady and the Unicorn), a series of six tapestries created in Flanders around 1500. The show title references the saturated deep red-orange which dominate the tapestries and also animate many of her compositions here.
- [Two Girls One Tweezer](https://artillerymag.com/events/two-girls-one-tweezer/): Two Girls One Tweezer is a two person exhibition by Vita Kari & EVIANXLUCY
- [Cast Shadows](https://artillerymag.com/events/cast-shadows/): Currency Exchange is pleased to present Cast Shadows, a presentation of sculptures by Andy Montiel-Phillips and large-scale paintings by David Vega, nothing is as it seems at first glance. Bright colors, cartoon shapes and referential and ubiquitous symbols, icons and fonts create a quick access point and immediate familiarity, only to divulge into something darker and more distorted. The familiar becomes a kind of mirror—reflecting personal memory, popular culture, and our collective psychic entanglement with a muddy national history back at us.
- [KALEIDOSCOPE: A Reflection of Staff Artwork](https://artillerymag.com/events/kaleidoscope-a-reflection-of-staff-artwork/): ArtCenter College of Design presents KALEIDOSCOPE: A Reflection of Staff Artwork, the fourth annual art exhibition celebrating the creative practices of ArtCenter staff.
- [Artist Talk: Michel Auder with Hamza Walker](https://artillerymag.com/events/artist-talk-michel-auder-with-hamza-walker/): Jeni Abramson Gallery welcomes Michel Auder in conversation with Hamza Walker, Executive Director of The Brick, for a wide-ranging discussion of Auder's fifty-year photography and video art practice, from his earliest experiments with the Portapak to the new and archival works at the center of this exhibition.
- [Michel Auder: Remains of the Day](https://artillerymag.com/events/michel-auder-remains-of-the-day/): Michel Auder's artistic practice has amassed into one of the most significant and enduring archives in contemporary art. Remains of the Day presents new and historical photographs alongside video work, including the first public presentation of images Auder made over decades to identify and organize his own footage, an archive that moves fluidly between document and artwork, memory and record. The exhibition is accompanied by a publication of the same title, designed by June Yu.
- [Ontario Arts Festival](https://artillerymag.com/events/ontario-arts-festival/): The City of Ontario’s Museum, Arts & Culture Department and the Chaffey Community Museum of Art present the return of the free Ontario Arts Festival on Saturday, October 17, 2026, from 10 AM – 5 PM in the Downtown Ontario Arts District. Now in its eighth year, the festival continues to grow and exemplify the City’s commitment to making Ontario the premier destination for arts and culture in the Inland Empire.
- [Michael LeVell: Salient Forms](https://artillerymag.com/events/michael-levell-salient-forms/): Tierra del Sol Gallery presents Michael LeVell: Salient Forms, the most comprehensive survey of the artist’s five decades of artmaking. A founding artist of Tierra del Sol’s Art Studios program, launched in 1989, LeVell has produced more than 5,000 works across 37 years, including sketches, still lifes, interior studies, landscapes, ceramics, vases, and small ceramic furniture.
- [Adrienne Elise Tarver: She who sits](https://artillerymag.com/events/adrienne-elise-tarver-she-who-sits/): OCHI is pleased to present She who sits, an exhibition of paintings by Brooklyn-based multidisciplinary artist Adrienne Elise Tarver. The works on view originated as Tarver's debut solo commission with Public Art Fund, first presented across roughly 300 transit shelters and newsstands in New York, Boston, and Chicago in 2024. She who sits will be on view at OCHI, located at 605 N. Western Avenue in Los Angeles, CA, from September 12 through October 10, 2026. A public reception will be held at the gallery on Saturday, September 12 from 6-8pm.
- [Lenworth McIntosh: Come When Mi Call Yu](https://artillerymag.com/events/lenworth-mcintosh-come-when-mi-call-yu/): OCHI is pleased to present Come When Mi Call Yu, an exhibition of new paintings by Los Angeles-based artist Lenworth McIntosh. The exhibition marks McIntosh's first solo show with OCHI, following his 2025 solo presentation at Frieze Los Angeles. Come When Mi Call Yu will be on view at OCHI, located at 605 N. Western Avenue in Los Angeles, CA from September 12 through October 10, 2026. A public reception will be held at the gallery on Saturday, September 12 from 6-8pm.
- [Sarah Ippolito: Growing by Living Together](https://artillerymag.com/events/sarah-ippolito-growing-by-living-together/): Anteroom: Sarah Ippolito | Growing by Living Together
- [Ann Thornycroft: Paint, oil, water](https://artillerymag.com/events/ann-thornycroft-paint-oil-water/): August 17, 2026–Official Welcome is excited to announce Ann Thornycroft's solo exhibition, Paint, oil, water, opening on September 5, 2026. Composed entirely of work made over the last year, the exhibition finds Thornycroft in peak form, capturing light, atmosphere, and feeling with exuberant energy.
- [The Shape of Elsewhere Exhibition Opening](https://artillerymag.com/events/the-shape-of-elsewhere-exhibition-opening/): THE SHAPE OF ELSEWHERE brings together eight local and international artists who transform familiar forms into imaginative new realities. Across painting and sculpture, recognizable subjects shift through unexpected compositions, changing light, and layered perspectives, creating worlds that feel both distant and intimately known. The opening is free to the public and is expected to draw collectors, interior designers, creatives, and members of the Los Angeles arts community.
- [MY KARMA RAN OVER MY DOGMA](https://artillerymag.com/events/my-karma-ran-over-my-dogma/): MY KARMA RAN OVER MY DOGMA IS A ONE WEEKEND ONLY POP-UP GROUP SHOW CO-CURATED BY KALMAN OCHELTREE & MAYA SPANGLER AT GALLERY SADE LOS ANGELES FEATURING WORKS BY MORGANNE BOULDEN, MEGAN WADE-DARRAGH, JACKSON EBBIN, KYLER GARRISON, DAISAKU HIDAKA, MAZZY JOYA, WESTON KEARL, SANDY KIM, PILOT LEE, JACOB LUCZAK, TENZIN MIYAHIRA, KALMAN OCHELTREE, SEAN PABLO, JAMIESON PEARL, CHLOE REES, VALENTINA RICK, JARRET RUBIN, MAYA SPANGLER, BRADY SULLIVAN
- [In Conversation: Artist Shaghayegh Cyrous with Abby Chen,  (Head of Contemporary Art & Senior Associate Curator at the Asian Art Museum San Francisco)](https://artillerymag.com/events/in-conversation-artist-shaghayegh-cyrous-with-abby-chen-head-of-contemporary-art-senior-associate-curator-at-the-asian-art-museum-san-francisco/): A discussion between Artist Shaghayegh Cyrous and Curator Abby Chen about her most recent project "Breathe the Sun" at Telematic Media Arts.
- [Opening: GREMLIN at FOYER-LA](https://artillerymag.com/events/opening-gremlin-at-foyer-la/): FOYER-LA presents 'GREMLIN', a two-person exhibition featuring works by George Raggett and Nick Herman. The show will kick off with an opening event on Saturday, September 12th, from 5-8pm, featuring a live musical performance by PIT at 7pm.
- [Excavation Record I – Sayonara (NEW EXHIBITION)](https://artillerymag.com/events/excavation-record-i-sayonara-new-exhibition/): GR gallery is pleased to present Excavation Record I – Sayonara, the first solo exhibition in the United States by Japanese artist Kosuke Ajiro. The exhibition introduces Ajiro’s distinctive practice through the figure of the archeologist, who ventures into a whimsical and enigmatic imagined realm known as the “Kingdom of Sally.” As the story gradually reveals itself, viewers are invited to witness the rise and fall of the ‘Kingdom of Sally' and participate in piecing together the discovered fragments that will one day rest in a temple dedicated to the art of storytelling.
- [Pasadena: L.A.’s Art Legacy](https://artillerymag.com/events/pasadena-l-a-s-art-legacy-2/): The just-published exhibition catalogue “A Hidden Story Revealed - Pasadena: L.A.'s Art Legacy,” brings a new focus to Contemporary & Modern Art with international impact and prompts the extension of the exhibition “Pasadena: L.A.'s Art Legacy” through September 30, 2026.” The exhibition brings into focus Pasadena’s outsized and yet seldom addressed role in L.A.’s recognition as a major international art center.
- [Grand Annex Cumbia Nights ft. Cello Azul & the Pyschedelic Orchestra](https://artillerymag.com/events/grand-annex-cumbia-nights-ft-cello-azul-the-pyschedelic-orchestra/): Grand Annex Cumbia Nights ft. Cello Azul & the Psychedelic Orchestra
- [A Gaze Through Time Exhibition Tour](https://artillerymag.com/events/a-gaze-through-time-exhibition-tour/): We invite you to join the Exhibition Walk Through of A Gaze Through Time: Contemporary Reflections on Memory and History, taking place on Saturday, August 29th, 2026 from 2 to 4 pm.
- [Storyless -Anali Taherian](https://artillerymag.com/events/storyless-anali-taherian/): Anali Taherian
- [Jiroft: Seven Valleys in Bloom – Hiva Alizadeh](https://artillerymag.com/events/jiroft-seven-valleys-in-bloom-hiva-alizadeh-2/): Hiva Alizadeh
- [Jiroft: Seven Valleys in Bloom – Hiva Alizadeh](https://artillerymag.com/events/jiroft-seven-valleys-in-bloom-hiva-alizadeh/): Hiva Alizadeh
- [TAG presents 6 Solo Shows and Features TAG Artists in Group Show: Light](https://artillerymag.com/events/tag-presents-6-solo-shows-and-features-tag-artists-in-group-show-light/): September 2 - 24 at TAG Gallery, the gallery presents a series of exhibitions examining photography, painting, sculpture, ceramics, and the impact of light.
- [CHG presents ‘Love, Death & All Her Friends’ by kelogsloops – Opening Reception](https://artillerymag.com/events/chg-presents-love-death-all-her-friends-by-kelogsloops-opening-reception/): Corey Helford Gallery Presents Love, Death & All Her Friends, a new solo exhibition by acclaimed Australian based artist Hieu Thien Nguyen, known artistically as kelogsloops. Opening September 19th, 2026, in Gallery 3, the exhibition brings together a new body of ethereal watercolor works exploring the fleeting nature of life, the intensity of love, the inevitability of loss, and the quiet acceptance that comes with knowing nothing lasts forever.
- [Corey Helford Gallery 20th Anniversary Exhibition – September Edition](https://artillerymag.com/events/corey-helford-gallery-20th-anniversary-exhibition-september-edition/): CHG proudly presents Corey Helford Gallery’s 20th Anniversary Celebration – September Edition, the second installment of a special two-part exhibition series bringing together an extraordinary roster of artists whose works have helped define the gallery's legacy over the past two decades. More than a group show, the anniversary serves as a tribute to the artists who transformed a gallery into a movement. With standout artists including D*Face, Ron English, Shepard Fairey, Paul Frank, Gary Baseman, Wayne White, Shag, Swoon, Miss Van, Luke Chueh and many more.
- [CAAM Creates with Design Hive: Free and Queer: Black Californian Roots of Gay Liberation](https://artillerymag.com/events/caam-creates-with-design-hive-free-and-queer-black-californian-roots-of-gay-liberation/): Inspired by the exhibition Free and Queer, this workshop invites participants of all ages to slow down, look closely, and reflect through hands-on making. Guided by the exhibition’s themes of self-expression, community, visibility, and Black queer joy, attendees will design a fabric pennant honoring themselves or an inspiring person, place, or idea using colors, words, symbols, patterns, and embellishments. Visitors may join at any time and leave with artwork to take home.

## Locations
- [Park Avenue Armory](https://artillerymag.com/locations/park-avenue-armory-4/)
- [Los Angles Center of Photography](https://artillerymag.com/locations/los-angles-center-of-photography-2/)
- [Los Angles Center of Photography](https://artillerymag.com/locations/los-angles-center-of-photography/)
- [The Alta Arts](https://artillerymag.com/locations/the-alta-arts/)
- [ADVOCARTSY DTLA](https://artillerymag.com/locations/advocartsy-dtla/)
- [Bluerider ART · Manhattan Beach](https://artillerymag.com/locations/bluerider-art-%c2%b7-manhattan-beach/)
- [Track 16 | Downtown LA](https://artillerymag.com/locations/track-16-downtown-la-4/)
- [Brewer Martin](https://artillerymag.com/locations/brewer-martin/)
- [SCHOOL](https://artillerymag.com/locations/school/)
- [Gene’s Dispensary](https://artillerymag.com/locations/genes-dispensary-10/)
- [Hostler Burrows](https://artillerymag.com/locations/hostler-burrows/)
- [City Club Los Angeles](https://artillerymag.com/locations/city-club-los-angeles/)
- [Blue and The Muse Gallery](https://artillerymag.com/locations/blue-and-the-muse-gallery/)
- [Diane Rosenstein Gallery](https://artillerymag.com/locations/diane-rosenstein-gallery-60/)
- [Make Room](https://artillerymag.com/locations/make-room-13/)
- [GR gallery](https://artillerymag.com/locations/gr-gallery-47/)
- [1700 S Santa Fe Ave  Unit #101 Los Angeles](https://artillerymag.com/locations/1700-s-santa-fe-ave-unit-101-los-angeles/)
- [Superchief Gallery LA](https://artillerymag.com/locations/superchief-gallery-la-2/)
- [INTERVAL](https://artillerymag.com/locations/interval/)
- [National Watercolor Society](https://artillerymag.com/locations/national-watercolor-society/)
- [Toyo Art Gallery](https://artillerymag.com/locations/toyo-art-gallery/)
- [Hauser & Wirth](https://artillerymag.com/locations/hauser-wirth-68/)
- [Hauser & Wirth](https://artillerymag.com/locations/hauser-wirth-67/)
- [Hauser & Wirth](https://artillerymag.com/locations/hauser-wirth-66/)
- [Torrance Art Museum](https://artillerymag.com/locations/torrance-art-museum-2/)
- [David Krut Arts](https://artillerymag.com/locations/david-krut-arts/)
- [The Painting Center](https://artillerymag.com/locations/the-painting-center-65/)
- [The Painting Center](https://artillerymag.com/locations/the-painting-center-64/)
- [Charlotte](https://artillerymag.com/locations/charlotte-2/)
- [Charlotte](https://artillerymag.com/locations/charlotte/)
- [Fine Art Gallery ArtCenter College of Design](https://artillerymag.com/locations/fine-art-gallery-artcenter-college-of-design/)
- [Track 16 | East Hollywood](https://artillerymag.com/locations/track-16-east-hollywood-9/)
- [Currency Exchange](https://artillerymag.com/locations/currency-exchange/)
- [Jeni Abramson Gallery](https://artillerymag.com/locations/jeni-abramson-gallery/)
- [Tierra del Sol Gallery](https://artillerymag.com/locations/tierra-del-sol-gallery-23/)
- [OCHI](https://artillerymag.com/locations/ochi-19/)
- [OCHI](https://artillerymag.com/locations/ochi-18/)
- [Mash Gallery](https://artillerymag.com/locations/mash-gallery-34/)
- [GR Gallery](https://artillerymag.com/locations/gr-gallery-46/)
- [ADVOCARTSY](https://artillerymag.com/locations/advocartsy-24/)
- [Aabee Bleue Project](https://artillerymag.com/locations/aabee-bleue-project-4/)
- [Aabee Bleue Project](https://artillerymag.com/locations/aabee-bleue-project-3/)
- [Aabee Bleue Project](https://artillerymag.com/locations/aabee-bleue-project-2/)
- [Track 16 | East Hollywood](https://artillerymag.com/locations/track-16-east-hollywood-8/)
- [Luis De Jesus Los Angeles](https://artillerymag.com/locations/luis-de-jesus-los-angeles-103/)
- [Tom Wudl Studio](https://artillerymag.com/locations/tom-wudl-studio/)
- [The Reef](https://artillerymag.com/locations/the-reef-4/)
- [Luis De Jesus Los Angeles](https://artillerymag.com/locations/luis-de-jesus-los-angeles-102/)
- [The Painting Center](https://artillerymag.com/locations/the-painting-center-63/)
- [The Painting Center](https://artillerymag.com/locations/the-painting-center-62/)
- [Mash Gallery](https://artillerymag.com/locations/mash-gallery-33/)
- [Blue & The Muse Gallery](https://artillerymag.com/locations/blue-the-muse-gallery/)
- [Korean Cultural Center, Los Angeles](https://artillerymag.com/locations/korean-cultural-center-los-angeles/)
- [Track 16 | Downtown LA](https://artillerymag.com/locations/track-16-downtown-la-3/)
- [Claremont Lewis Museum of Art](https://artillerymag.com/locations/claremont-lewis-museum-of-art-22/)
- [Heather Gaudio FIne Art](https://artillerymag.com/locations/heather-gaudio-fine-art-28/)
- [Luis De Jesus Los Angeles](https://artillerymag.com/locations/luis-de-jesus-los-angeles-101/)
- [Artists & Makers Studios – San Gabriel](https://artillerymag.com/locations/artists-makers-studios-san-gabriel-5/)
- [Trejo\’s Tacos](https://artillerymag.com/locations/trejos-tacos/)
- [Matter Studio Gallery](https://artillerymag.com/locations/matter-studio-gallery-54/)
- [YA! Project Space](https://artillerymag.com/locations/ya-project-space-2/)
- [The Artists Gallery (TAG)](https://artillerymag.com/locations/the-artists-gallery-tag-2/)
- [GR Gallery](https://artillerymag.com/locations/gr-gallery-45/)
- [GR Gallery](https://artillerymag.com/locations/gr-gallery-44/)
- [GR Gallery](https://artillerymag.com/locations/gr-gallery-43/)
- [GR Gallery](https://artillerymag.com/locations/gr-gallery-42/)
- [Santa Monica Auctions at Bergamot Station Arts Center](https://artillerymag.com/locations/santa-monica-auctions-at-bergamot-station-arts-center/)
- [Justin Cooper Studio](https://artillerymag.com/locations/justin-cooper-studio/)
- [Del Amo Crossing](https://artillerymag.com/locations/del-amo-crossing/)
- [461 N Western Ave](https://artillerymag.com/locations/461-n-western-ave/)
- [The Renberg Theatre](https://artillerymag.com/locations/the-renberg-theatre/)
- [Wonzimer](https://artillerymag.com/locations/wonzimer-59/)
- [Wonzimer](https://artillerymag.com/locations/wonzimer-58/)
- [Huntington Beach Art Center](https://artillerymag.com/locations/huntington-beach-art-center-4/)
- [Huntington Beach Art Center](https://artillerymag.com/locations/huntington-beach-art-center-3/)
- [Huntington Beach Art Center](https://artillerymag.com/locations/huntington-beach-art-center-2/)
- [Rogue Machine Theatre](https://artillerymag.com/locations/rogue-machine-theatre/)
- [Gallery AF](https://artillerymag.com/locations/gallery-af/)
- [Diane Rosenstein Gallery](https://artillerymag.com/locations/diane-rosenstein-gallery-59/)
- [Fathom Art Gallery](https://artillerymag.com/locations/fathom-art-gallery/)
- [The Painting Center](https://artillerymag.com/locations/the-painting-center-61/)
- [The Grand Annex Music Hall](https://artillerymag.com/locations/the-grand-annex-music-hall/)
- [YA!](https://artillerymag.com/locations/ya/)
- [ADVOCARTSY](https://artillerymag.com/locations/advocartsy-23/)
- [E2art gallery](https://artillerymag.com/locations/e2art-gallery/)
- [Track 16 | East Hollywood](https://artillerymag.com/locations/track-16-east-hollywood-7/)
- [Mercado La Paloma](https://artillerymag.com/locations/mercado-la-paloma/)
- [Hauser & Wirth West Hollywood](https://artillerymag.com/locations/hauser-wirth-west-hollywood-9/)
- [Niko](https://artillerymag.com/locations/niko/)
- [Sasse Museum of Art](https://artillerymag.com/locations/sasse-museum-of-art-3/)
- [Angels Gate Cultural Center](https://artillerymag.com/locations/angels-gate-cultural-center-60/)
- [Gene’s Dispensary](https://artillerymag.com/locations/genes-dispensary-9/)
- [YA! Project Space](https://artillerymag.com/locations/ya-project-space/)
- [Matter Studio Gallery](https://artillerymag.com/locations/matter-studio-gallery-53/)
- [Matter Studio Gallery](https://artillerymag.com/locations/matter-studio-gallery-52/)
- [Secret Location](https://artillerymag.com/locations/secret-location-2/)
- [OCHI](https://artillerymag.com/locations/ochi-17/)
- [East Los Angeles Library](https://artillerymag.com/locations/east-los-angeles-library/)
- [Blue & The Muse](https://artillerymag.com/locations/blue-the-muse/)
- [Regne Unit](https://artillerymag.com/locations/regne-unit/)