Guide to Los Angeles Art Week

Selected gallery highlights from this year's fair edition as follows: 

Perrotin (Booth A07)

This year Perrotin will present a few solo corners with Daniel Arsham, Paul Pfeiffer, and
a collaboration between Mr. and Takashi Murakami, alongside works by YOUNG-II
AHN, IVAN ARGOTE, DANIEL ARSHAM, ROBERTO BENAVIDEZ, SOPHIE CALLE,
JULIAN CHARRIÈRE, GABRIEL DE LA MORA, ALEX GARDNER, TODD GRAY,
CHARLES HASCOËT, JR, BHARTI KHER, MR. x MURAKAMI, TAKASHI MURAKAMI,
JEAN-MICHEL OTHONIEL, PAUL PFEIFFER, PAOLA PIVI, GABRIEL RICO, MARK
RYDEN, CINGA SAMSON, AYA TAKANO, PIETER VERMEERSCH, NANCY GRAVES,
JULIA VON EICHEL.

Highlight artists featured:

Iván ARGOTE
Born in 1983 in Bogotá, Colombia
Lives and works in Paris, France
Etcetera: Covering with Mirrors Francisco de Orellana, the So-Called Discoverer of the
Amazon – National Park, Bogotá, 2012 - 2018
Archival pigment print
160 × 160 cm | 63 × 63 inches
2/2 AP + 3 Editions

Argote’s series Etcétera continues to explore the idea of fictional removal and
subsequent revision of existing monuments. In a series of interventions conducted in

Bogota, Colombia from 2012-2018, Argote disrupted statues in public parks around the
city by vanishing them within a mirrored shell. Here, we see one covering a statue of
Francisco de Orellana, a conquistador who was the self-proclaimed discoverer of the
Amazonian Forest. The resulting optical illusion obscures the stat- ues while reflecting
its surroundings. Argote uses architectural intervention to entirely replace statues,
reflecting the gaze back on us. Collectively, we are questioning whose history is told,
whose is seen.

Paola PIVI

Born in 1971 in Milan, Italy
Lives and works in Island of Hawai'i, Hawai’i, USA
Untitled (pearls), 2024
Plastic pearls last pearl blue, canvas, wood
73.7 × 81.3 × 23.5 cm | 29 × 32 × 9 1/4 inches
Unique

Paola Pivi’s artistic practice is diverse and enigmatic. Commingling the familiar with the
alien, Pivi often works with commonly identifiable objects which are modified to
introduce a new scale, material or color, challenging the audience to change their point
of view. In her series of plastic pearl works, the artist covers a canvas panel with
thousands of beads, meant to create a waterfall or cascade of pearls strands flowing
from the wall.

Lisson Gallery (Booth A3)
Lisson presents a focused yet expansive selection spanning sculpture, painting,
photography, textile, and conceptual practices. Artists presented on the booth include
Olga de Amaral, Kelly Akashi, Hiroshi Sugimoto, Garrett Bradley, Oliver Lee Jackson,
Hélio Oiticica, Dalton Paula, Spencer Finch, among others.

Olga de AMARAL
Born in Bogotá, Colombia
Lives in Bogotá, Colombia
Aqua 14, 2016
Linen, gesso, Japanese paper, acrylic and palladium leaf
78.7 x 166.4 x 2.5 cm
31 x 65 1/2 x 1 in

The meticulously woven, tightly composed pattern of Olga de Amaral’s Aqua 14, 2016
relishes the transformative capacities of sustained visual pleasure. The undulating
surface is created through a modified grid, made up of tiny linen squares covered with
gesso, paint and palladium leaf, thereby ambiguating the relationship between
traditional craft and geometric abstraction. Further, the work operates as a
deconstructed painting, one that is cut up and reassembled, thereby creating a hanging
sculpture. The position of the viewer in relationship to the work reveals how light
disperses and loses form. Amaral illuminates her artworks by incorporating metallic
elements such as gold and, in the case of Aqua 14, palladium leaf. The shimmering
reflection creates the impression of an object as solid and heavy as metal but
seamlessly floating and shifting ever so slightly with a current of air, denying any weight.

 Amaral’s use of palladium stems from its ability to resist oxidation, an observation that

makes evident the artist’s tireless process-driven experimentation with various materials
and techniques. The work relates to Amaral’s Estelas series, “stones of gold”, that also
showcase the artist’s freedom from the rigidity of the loom as she instead ventures into
new innovative techniques that challenge and redefine the idea of weaving and fiber art.

Olga de AMARAL

Born in Bogotá, Colombia
Lives and works in Bogotá, Colombia
Estudio 12, 2007
Linen, gesso and acrylic
25.4 x 22.2 x 0.3 cm
10 x 8 3/4 x 1/8 in
Framed: 50.2 x 47.6 x 6.4 cm
Framed: 19 3/4 x 18 3/4 x 2 1/2 in
Signed and dated, recto; Olga de Amaral / 2008
Estudio 12 is a part of a rare series of 17 small scale artworks. Olga de Amaral created
these intimate, contained objects to investigate color, space, geometry and form.
However, while other artworks made by Amaral resemble deconstructed paintings, and
emphasize the temporal through its relation to the artist’s labor, these pieces are
approached head-on and demonstrate Amaral’s painterly skill. Applying gesso and

acrylic directly onto linen, the work resembles an unstretched canvas and functions to
collapse modernism’s separation between ‘art’ and ‘craft’.

Timothy Taylor Gallery (Booth B12)
Timothy Taylor is pleased to return to Frieze Los Angeles 2026 with a presentation of
new work by gallery artists, bringing together paintings and sculptures that underscore
the program’s sustained engagement with surface and colour.

In Booth B12, the gallery presents work by an intergenerational group of artists,
including Alicia Adamerovich, Marina Adams, Daniel Crews-Chubb, Jorge Eielson, Alex
Katz, Sean Landers, Sahara Longe, Chris Martin, Eddie Martinez, Annie Morris, Hilary
Pecis, Hayal Pozanti, Lauren Satlowski, Paul Anthony Smith, Kiki Smith, Alice Tippit,
and Martha Tuttle, alongside Ed Ruscha’s, Automatic (1971) a gunpowder and pastel
work on paper. Addressing themes ranging from the natural world and cultural memory
to consumerism, mythology, and symbolism, the works demonstrate a range of distinct
approaches to form and material

Paul Anthony SMITH
Born St. Ann’s Bay, Jamaica
Lives and works in New York, New York
Dreams Deferred: Leaves of Grass, 2025
Oil stick and spray paint on inkjet printed linen on panel
80 × 102 in. (203.2 × 259.1 cm)

Framed: 82 × 104 in. (208.3 × 264.2 cm)
In his work, Smith examines the landscape through the lens of intersecting, and often
competing, cultural narratives. Drawing on his experiences of home in Jamaica, where
he was born, and the United States, where he has spent much of his life, he considers
how belonging, exclusion, migration, and travel shape our relationship to both built and
natural environments. Inspired by the work of Jamaican British cultural theorist Stuart
Hall, who wrote on the mutable construction of cultural identity, Smith’s ongoing series
Dreams Deferred presents scenes of lush gardens, viewed from both inside and outside
their cultivated boundaries. These works evoke questions of access, protection, and
care, inviting reflection on what the natural spaces around us reveal about ourselves.
One work from Dreams Deferred is presented here. Verdant fields bursting with
wildflowers are seen through a chain-link fence that abstracts and partially obscures the
view, prompting reflection on enclosures—whether one is welcomed or excluded, free,
or constrained.

Ed RUSCHA
Born in Omaha, Nebraska
Automatic, 1971
Gunpowder and pastel on paper
12 × 29 ½ in. (30.5 × 74.9 cm)
Framed: 13 ⅛ × 31 in. (33.3 × 78.7 cm)
"What I'm interested in is illustrating ideas." Ed Ruscha, 1970. For Ed Ruscha, the late
1960’s and early 1970’s galvanized an exploration into new and inventive artistic

mediums to put on paper. Ruscha investigated the use of gunpowder as seen in the
present lot as well as other more foreign ingredients including egg-yolk, tulips, Vaseline
and blood to in order to achieve his desired visual result. Automatic, executed in 1971
utilizes obsidian gunpowder and celestial pastel to achieve an overall soft and warm
texture across the sheet. As the artist explains, “Whatever excursion there was into this
alternative materials world probably came about because I was not totally satisfied with
graphite [or] oil paint, so I happened to have by accident this little canister of
gunpowder. I thought 'well that's a powder like charcoal, like graphite and why can't that
be used?' And I experimented with it and I found that it offered things that other things
didn't.”(E. Ruscha, speaking at Ed Ruscha: Making Sense of Modern Art, San Francisco
Museum of Modern Art, July 2004). Excerpt from Phillips.

Richard Saltoun Gallery (Booth C04)
Richard Saltoun presents a booth dedicated to two pioneering women working in
abstraction: Romany Eveleigh (1934–2020, British-Canadian) and Bice Lazzari
(1900–1981, Italian.

Romany EVELEIGH (1934 - 2020)
Born in England
One Liners, 2017
Oil and pastel on paper (172 Strips)
14 x 102 1/4 in
Known for her uncompromising commitment to minimalism, Eveleigh was championed
by critics who aligned her rhythmic, mark-making process with the legacies of Post-
Painterly Abstraction. Working largely in solitude between Rome, Paris, and New York,
she approached the canvas as a site for contemplative, repetitive gestures. Her
distinctive sign-based vocabulary drew from a fascination with the "writing" of daily life-
ranging from the layout of newspapers to the inherent rhythm of handwriting. During the
1970s, Eveleigh was a vital part of the feminist avant-garde in Italy, living and working
alongside her lifelong partner, the photojournalist Anna Baldazzi. Her work remains a
profound exploration of the intersection between language, consciousness, and the
painted surface.

Bice LAZZARI (1900 - 1981)
Untitled, 1953
Tempera on paper
10 x 15 in
25.6 x 37.7 cm
Signed and dated verso
Lazzari, often referred to as the "Agnes Martin of Italy," defied the societal constraints of
her time to become a visionary force in post-war European art. After relocating from

Venice to Rome in 1935, she initially achieved success in the decorative arts,
collaborating with architects such as Gio Ponti and Carlo Scarpa. Upon returning to
pure abstraction in the 1950s, she moved from the gestural textures of Informel toward
a highly refined, minimalist language. Her transition to acrylic paint in 1964 allowed for a
groundbreaking exploration of line and space. Influenced by her deep knowledge of
music and poetry, Lazzari's late works-often composed of delicate graphite or ink lines-
attained a rare structural purity, which she maintained even as her eyesight began to
fail.

Spruth Magers (Booth C06)
The presentation highlights the work of John Baldessari, who has been at the
cornerstone of the gallery’s program since the late 1980s. Influential to generations of
imagemakers, both through his art and his decades of teaching at CalArts and UCLA,
Baldessari remains an essential part of the fabric of Los Angeles art history and
contemporary practice.

The booth will also feature works by a diverse selection of artists, such as Henni Alftan,
Kenneth Anger, George Condo, Lucy Dodd, Nancy Holt, Jenny Holzer, Karen Kilimnik,
Barbara Kruger, Anne Imhof, Arthur Jafa, Gala Porras-Kim, Sterling Ruby, Analia
Saban, David Salle, Martine Syms, Kaari Upson and Kara Walker.

Jenny HOLZER
Lives and works in New York
Pearl’s Truisms & Survival, 2013
Text: Truisms (1977–79) and Survival (1983–85)
Horizontal LED sign: RGB diodes, stainless steel housing
23.6 × 173 × 6.1 cm | 9 1/4 × 68 × 2 3/8 inches

Edition 1 of 6
As its title suggests, Holzer’s LED sign Pearl’s Truisms & Survival (2013) presents text
from both Truisms and Survival (1983–85) in brilliant blue, red, and amber light. Since
the 1970s, LED signs have become integral to Holzer’s practice and her most prominent
medium. Their dynamism and vivid coloration captivate attention, rendering the
complexities of her sophisticated wordplay and sociohistorical more accessible. In
Pearl’s Truisms & Survival and throughout Holzer’s practice, the artist reveals the power
of language and the multiplicity of meaning. 

David SALLE
Night Shoot, 2009
Oil on linen and inkjet on canvas
167.6 × 223.5 cm | 66 × 88 inches
David Salle came to prominence in the 1980s as a leading figure of the Pictures
Generation. His distinctive paintings are created by combining disparate visual
fragments drawn from cartoon imagery, advertisement, graffiti, and art history into
layered compositions that speak to our image-saturated contemporary moment. Night
Shoot (2009) juxtaposes two images of women, one printed in black and white, the
other painted in vivid color. On the left, an image likely taken from a film still or

photograph depicts a woman in a black cocktail dress, reaching awkwardly for her
stiletto shoe in the rain. On the right, the female figure twists away from the viewer as if
waking and stretching, and her angular pose echoes that of her companion to generate
a complex network of movement and energy across the canvas. The striking circular
cutouts to the black-and-white figure, together with the painting’s prominent primary
colors, also recall the work of John Baldessari, with whom Salle studied in the 1970s at
the California Institute for the Arts (CalArts).

III. Other Los Angeles Fairs 

Felix Los Angeles
Hollywood Roosevelt Hotel, 7000 Hollywood Boulevard, Los Angeles, CA 90028

February 26 – March 1, 2026
FELIX Los Angeles returns to the iconic Hollywood Roosevelt Hotel for its seventh
edition, continuing to provide an intimate and relaxed environment that encourages
meaningful connections between galleries, collectors, and art lovers. The fair was
founded with the goal of creating an accessible and enjoyable experience, both for
seasoned collectors and those new to contemporary art. Each year, FELIX showcases a
carefully curated selection of established and emerging galleries, featuring
contemporary painting, sculpture, photography, and multimedia works. The atmosphere
is creative, informal, and distinctly Los Angeles.
Hours: Wednesday – Saturday 11am-7pm; Sunday 11am-5pm

STARTUP LA
The Kinney Venice Beach, 737 Washington Blvd, Venice, CA 90292
February 27 – March 1, 2026
Startup Art Fair champions independent artists—especially mid-career, re-emerging,
and early-career voices—by creating opportunities beyond the traditional gallery model. Through curated art fairs, exhibitions, and direct-to-collector programs, Startup expands artist visibility while giving collectors access to outstanding contemporary art at
accessible prices. Launched in 2015 by artist and entrepreneur Ray Beldner, Startup
emerged as a bold response to a changing art landscape—one marked by gallery
closures and limited artist-centered platforms. Each edition is juried by curators and art
professionals, ensuring high-quality presentations and fresh perspectives.
Hours: Friday, February 27:
VIP Early access: 5-7pm
All Access: 7-10pm
Saturday, February 28: 12pm - 9pm
Sunday, March 1: 12pm - 7pm

The Other Art Fair
3Labs, 8461 Warner Drive, Culver City, CA 90232
February 26 - March 1, 2026

The Other Art Fair has built a reputation for being bold, unexpected, and “never normal.”
Created for those who love something different, the fair brings its distinctive energy to
Los Angeles with affordable, original artwork from over 100 independent artists
alongside immersive installations, performances, DJs, and a fully stocked bar. Beyond
showcasing incredible talent from across the globe, The Other Art Fair makes collecting
contemporary art approachable, with some artwork starting at $100. It's an experience
that celebrates creativity in all its forms—accessible, vibrant, and always a little
unconventional.
Hours:
Thursday, February 26: 6 – 10 PM (opening night)
General Entry:
Friday, February 27: 5 – 10 PM
Saturday, February 28: 11 AM – 7 PM
Sunday, March 1: 11 AM – 6 PM

Institutional Shows

MONUMENTS at MOCA and The Brick
Co-organized and co-presented by MOCA and The Brick, MONUMENTS marks the
recent wave of monument removals as a historic moment. The exhibition reflects on the
histories and legacies of post-Civil War America as they continue to resonate today,
bringing together a selection of decommissioned monuments, many of which are
Confederate, with contemporary artworks borrowed and newly created for the occasion. Removed from their original outdoor public context, the monuments in the exhibition will be shown in their varying states of transformation, from unmarred to heavily vandalized.

The Geffen Contemporary at MOCA, 152 North Central Avenue, Los Angeles, CA
90012
Hours: Thursday – Friday 11am–5pm; Saturday – Sunday 11am–6pm
The Brick, 518 North Western Avenue, Los Angeles, CA 90004
Hours: Wednesday – Sunday 11am–6pm

Hours: Tuesday, Wednesday, & Friday 11am–5pm; Thursday 11am–8pm;
Saturday – Sunday 10am–6pm
Address: 221 S. Grand Avenue, Los Angeles, CA 90012

How to be a Guerilla Girl at Getty Center
How to Be a Guerrilla Girl presents the inner workings of the anonymous feminist art
collective alongside a new commission at the Getty Research Institute. Drawing on
the Guerrilla Girls’ archive, the exhibition explores the steps the group took to create
their eye-catching and humorous public interventions. The exhibition places the
Guerrilla Girls’ well-known posters in the broader context of their data research, protest
actions, culture jamming, and distribution methods. Coinciding with the Guerrilla Girls’
40th anniversary, the exhibition tells the story of their collaborative process and
longstanding commitment to call for equity for women and artists of color in the art
world.

Hours: Tuesday-Friday, Sunday 10am-6:30pm; Saturday 10am-9pm
Address: 1200 Getty Center Drive, Los Angeles, CA 90049

Made in L.A. 2025 at the Hammer Museum
Made in L.A. 2025 is the seventh iteration of the Hammer’s signature biennial exhibition
that showcases artists practicing throughout the greater Los Angeles area. The 28
participants in the exhibition present work not only made in the city but also grounded in
its complex and unfolding terrain. Neither myth nor monolith, Los Angeles is many
things to many people, and its dissonance is perhaps its most distinguishing feature.
The works presented in this year’s biennial include film, painting, theater, choreography,
photography, sculpture, sound, and video. Attitude draws them together: Each engages
with this city in ways alternately literal, formal, material, and metaphoric. Conceived or
made in Los Angeles, they are of this city and nowhere else.

Hours: Tuesday – Thursday 11am-6pm; Friday 11am-8pm; Saturday-Sunday
11am-6pm
Address: 10899 Wilshire Blvd., Los Angeles, CA 90024

Sandra Vásquez de la Horra: The Awake Volcanoes at ICA LA
With drawing as her primary medium, Sandra Vásquez de la Horra (b. 1967, Viña del
Mar, Chile) explores the relationship between the human body and the physical,
psychological, and political landscapes it inhabits. Marking her first US solo exhibition,
The Awake Volcanoes features four decades of drawings alongside etchings, paintings,
and accordion-like paper sculptures that reveal the manifold ways in which the artist has
consistently challenged the limits and possibilities of what a drawing is and can be.

Hours: Wednesday – Sunday 11am-6pm
Address: 1717 E 7th St, Los Angeles, CA 90021

Sueño Perro: A Film Installation by Alejandro G. Iñárritu at LACMA
This multisensory installation, rooted at the intersection of cinema and visual art, marks
the 25th anniversary of Alejandro G. Iñárritu’s legendary debut feature Amores Perros
(2000). Over a million feet of film were left behind on the cutting room during the film’s
edit. A selection of these never-before-seen fragments has been excavated from the
archives for the first time, and they are illuminated here by an assemblage of 35mm
projectors, forming a mosaic of celluloid and sound bites of Mexico City collected over
the last decades. Stripped of all narrative, the installation is not a tribute but a
resurrection—an invitation to experience what never was. Drawing on the raw power
and visual poetry of imagery left behind long ago, SUEÑO PERRO presents film as
living material—one that is composed of time, light, and space—prompting us to ask:
How many films exist within a film?

Hours: Monday, Tuesday, & Thursday 11am-6pm; Friday 11am-8pm; Saturday –
Sunday 10am-7pm
Address: 5905 Wilshire Blvd., Los Angeles, CA 90036

Gallery Exhibitions

• Destiny Is a Rose: The Eileen Harris Norton Collection at Hauser &  Wirth Los Angeles

Renowned for her generosity to artists and institutions, Eileen Harris Norton has built a
collection and philanthropy actively focused upon the work of women, artists of color
and her native California. Marking fifty years since Harris Norton’s first acquisition—a
print purchased directly from Los Angeles artist Ruth Waddy in 1976—‘Destiny Is a
Rose’ presents more than 80 works that together reflect Harris Norton’s prescient vision
and commitment to social justice and learning.

Titled after a painting by Kerry James Marshall, ‘Destiny Is a Rose’ includes work by
such artists as Mark Bradford, Felix Gonzalez-Torres, David Hammons, Glenn Ligon
Marshall, Lorraine O’Grady, Adrian Piper, Betye Saar, Lorna Simpson, Kara Walker,
Carrie Mae Weems and Jack Whitten, among others. In conjunction with ‘Destiny Is a
Rose,’ Hauser & Wirth Publishers will release a catalogue featuring texts by Dr. Kellie Jones and curator Ingrid Schaffner, celebrating a collector who continues to be an agent of cultural change and growth.

• Hark Back to Ukiyo-e: Tracing Superflat to Japonisme’s Genesis at Perrotin Los Angeles

Featuring 24 new paintings, the exhibition explores the historical dialogue between
Japanese ukiyo-e prints and European Impressionism, particularly the influence of
bijinga – pictures of beautiful women – on artists such as Monet. Inspired by a recent
visit to Monet’s Giverny, Murakami advances his Superflat theory by tracing how Edo-
period compositions, costumes, and sensual gestures reshaped Western approaches to
modern life and abstraction.

• Tacita Dean: Trial of the Finger at Marian Goodman Gallery Los Angeles

Trial of the Finger is an exhibition of new and recent works by Tacita Dean. Alongside
two recent 35mm film installations, Paradise (2021) and Geography Biography (2023),
Dean will show a new 16mm film, Sidney Felsen decorates an Envelope (2026), new
chalk and slate drawings as well as Polaroid works and works on glass. The title of the
exhibition comes from a criticism made by the English writer Dr. Samuel Johnson about
the 17th century Metaphysical poets. He saw them as counting syllables (trial of the
finger) in their poetry on account of their abundant use of conceits rather than relying on
a poem's musicality to the ear. There are many visual references in this exhibition to
both the finger, and indeed to ears, but the title also refers to how Dean manufactures
her drawings, most particularly the new slate drawings in this exhibition.