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💫 MOCA 2025 Wrapped!

You had to be there, but also here it is!

Visiting MOCA in 2026? We highly recommend it. Fresh exhibitions, public programs, and ways to look closer together. On view, on stage, and in conversation. See you there!✨

"The Mom Tapes," 1974-1978, by Ilene Segalove.

Image credit: Ilene Segalove, "The Mom Tapes," 1974–1978. Single-channel digital video (black-and-white and color, sound). The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by the Acquisition and Collection Committee.

Our collab with MOCA starts this weekend!

You can find us on the Sculpture Plaza at MOCA Grand Avenue on Saturday and Sunday from 11am-5pm! We can’t wait to see you all!

Happy Flyday.

There are many contemporary artists who use assistants to create works of art, but it's doubtful that any employ as many as John Knuth. Over 250,000 common house flies contributed to the completion of this body of paintings, living out their life cycle inside canvas-walled enclosures at the artist's Los Angeles studio. Knuth feeds the flies a mixture of sugar, water, and colored pigments that is drank and regurgitated millions of times over the course of six weeks. The resulting paintings are a record of this process, resulting in dense layers of chromatic fields sweeping across a surface comprised of countless tiny flyspeck. Knuth is drawn to the tensions between the controlled environment of his studio and the inherently non-social insects' unpredictable mark-making; a process that he feels mirrors contemporary society.

Watch the full video at youtube.com/@MOCA

@knuthstudio

MOCA's recently opened exhibition "The Expanding Field: MOCA's Collection from the 1940s to 1970s" demonstrates the MOCA collection’s historical depth. Shown here are a selection of the works by women in the exhibition.

Image 1: Corita Kent, "the handling is in your hands," 1966. Serigraph on Pellon
Paper. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by the Drawings Committee.

Image 2: Liliana Porter, "Untitled (self portrait with square)," 1973/2012. Gelatin silver print. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by the Drawings and Photography Committee.

Image 3: Mary Ann Unger, "Benchmarks," 1977. Bonded iron. The Museum of Contemporary Art, Los Angeles
Gift of Geoffrey Biddle and Eve Biddle.

Image 4: Essie Bendolph Pettway, Two-sided quilt: Blocks and 'One Patch' - stacked squares and rectangles variation," 1973. Cotton, polyester knit, and denim. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by Joel Wachs.

Image 5: Nancy Youdelman, "Leaves, A Self Portrait," 1973. Six color photographs in Plexiglas artist's frames. The Museum of Contemporary Art, Los Angeles. Gift of Olivia Marciano.

Image 6: Sherrie Levine, "Untitled (President: 2)," 1979. Collage on paper.
The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by Councilman Joel Wachs.

"The Expanding Field: MOCA's Collection from the 1940s to 1970s" is on view at MOCA Grand Avenue now through September 20, 2026.

MOCA's recently opened exhibition "The Expanding Field: MOCA's Collection from the 1940s to 1970s" demonstrates the MOCA collection’s historical depth. Shown here are a selection of the works by women in the exhibition.

Image 1: Corita Kent, "the handling is in your hands," 1966. Serigraph on Pellon
Paper. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by the Drawings Committee.

Image 2: Liliana Porter, "Untitled (self portrait with square)," 1973/2012. Gelatin silver print. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by the Drawings and Photography Committee.

Image 3: Mary Ann Unger, "Benchmarks," 1977. Bonded iron. The Museum of Contemporary Art, Los Angeles
Gift of Geoffrey Biddle and Eve Biddle.

Image 4: Essie Bendolph Pettway, Two-sided quilt: Blocks and 'One Patch' - stacked squares and rectangles variation," 1973. Cotton, polyester knit, and denim. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by Joel Wachs.

Image 5: Nancy Youdelman, "Leaves, A Self Portrait," 1973. Six color photographs in Plexiglas artist's frames. The Museum of Contemporary Art, Los Angeles. Gift of Olivia Marciano.

Image 6: Sherrie Levine, "Untitled (President: 2)," 1979. Collage on paper.
The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by Councilman Joel Wachs.

"The Expanding Field: MOCA's Collection from the 1940s to 1970s" is on view at MOCA Grand Avenue now through September 20, 2026.

MOCA's recently opened exhibition "The Expanding Field: MOCA's Collection from the 1940s to 1970s" demonstrates the MOCA collection’s historical depth. Shown here are a selection of the works by women in the exhibition.

Image 1: Corita Kent, "the handling is in your hands," 1966. Serigraph on Pellon
Paper. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by the Drawings Committee.

Image 2: Liliana Porter, "Untitled (self portrait with square)," 1973/2012. Gelatin silver print. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by the Drawings and Photography Committee.

Image 3: Mary Ann Unger, "Benchmarks," 1977. Bonded iron. The Museum of Contemporary Art, Los Angeles
Gift of Geoffrey Biddle and Eve Biddle.

Image 4: Essie Bendolph Pettway, Two-sided quilt: Blocks and 'One Patch' - stacked squares and rectangles variation," 1973. Cotton, polyester knit, and denim. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by Joel Wachs.

Image 5: Nancy Youdelman, "Leaves, A Self Portrait," 1973. Six color photographs in Plexiglas artist's frames. The Museum of Contemporary Art, Los Angeles. Gift of Olivia Marciano.

Image 6: Sherrie Levine, "Untitled (President: 2)," 1979. Collage on paper.
The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by Councilman Joel Wachs.

"The Expanding Field: MOCA's Collection from the 1940s to 1970s" is on view at MOCA Grand Avenue now through September 20, 2026.

MOCA's recently opened exhibition "The Expanding Field: MOCA's Collection from the 1940s to 1970s" demonstrates the MOCA collection’s historical depth. Shown here are a selection of the works by women in the exhibition.

Image 1: Corita Kent, "the handling is in your hands," 1966. Serigraph on Pellon
Paper. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by the Drawings Committee.

Image 2: Liliana Porter, "Untitled (self portrait with square)," 1973/2012. Gelatin silver print. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by the Drawings and Photography Committee.

Image 3: Mary Ann Unger, "Benchmarks," 1977. Bonded iron. The Museum of Contemporary Art, Los Angeles
Gift of Geoffrey Biddle and Eve Biddle.

Image 4: Essie Bendolph Pettway, Two-sided quilt: Blocks and 'One Patch' - stacked squares and rectangles variation," 1973. Cotton, polyester knit, and denim. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by Joel Wachs.

Image 5: Nancy Youdelman, "Leaves, A Self Portrait," 1973. Six color photographs in Plexiglas artist's frames. The Museum of Contemporary Art, Los Angeles. Gift of Olivia Marciano.

Image 6: Sherrie Levine, "Untitled (President: 2)," 1979. Collage on paper.
The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by Councilman Joel Wachs.

"The Expanding Field: MOCA's Collection from the 1940s to 1970s" is on view at MOCA Grand Avenue now through September 20, 2026.

MOCA's recently opened exhibition "The Expanding Field: MOCA's Collection from the 1940s to 1970s" demonstrates the MOCA collection’s historical depth. Shown here are a selection of the works by women in the exhibition.

Image 1: Corita Kent, "the handling is in your hands," 1966. Serigraph on Pellon
Paper. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by the Drawings Committee.

Image 2: Liliana Porter, "Untitled (self portrait with square)," 1973/2012. Gelatin silver print. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by the Drawings and Photography Committee.

Image 3: Mary Ann Unger, "Benchmarks," 1977. Bonded iron. The Museum of Contemporary Art, Los Angeles
Gift of Geoffrey Biddle and Eve Biddle.

Image 4: Essie Bendolph Pettway, Two-sided quilt: Blocks and 'One Patch' - stacked squares and rectangles variation," 1973. Cotton, polyester knit, and denim. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by Joel Wachs.

Image 5: Nancy Youdelman, "Leaves, A Self Portrait," 1973. Six color photographs in Plexiglas artist's frames. The Museum of Contemporary Art, Los Angeles. Gift of Olivia Marciano.

Image 6: Sherrie Levine, "Untitled (President: 2)," 1979. Collage on paper.
The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by Councilman Joel Wachs.

"The Expanding Field: MOCA's Collection from the 1940s to 1970s" is on view at MOCA Grand Avenue now through September 20, 2026.

MOCA's recently opened exhibition "The Expanding Field: MOCA's Collection from the 1940s to 1970s" demonstrates the MOCA collection’s historical depth. Shown here are a selection of the works by women in the exhibition.

Image 1: Corita Kent, "the handling is in your hands," 1966. Serigraph on Pellon
Paper. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by the Drawings Committee.

Image 2: Liliana Porter, "Untitled (self portrait with square)," 1973/2012. Gelatin silver print. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by the Drawings and Photography Committee.

Image 3: Mary Ann Unger, "Benchmarks," 1977. Bonded iron. The Museum of Contemporary Art, Los Angeles
Gift of Geoffrey Biddle and Eve Biddle.

Image 4: Essie Bendolph Pettway, Two-sided quilt: Blocks and 'One Patch' - stacked squares and rectangles variation," 1973. Cotton, polyester knit, and denim. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by Joel Wachs.

Image 5: Nancy Youdelman, "Leaves, A Self Portrait," 1973. Six color photographs in Plexiglas artist's frames. The Museum of Contemporary Art, Los Angeles. Gift of Olivia Marciano.

Image 6: Sherrie Levine, "Untitled (President: 2)," 1979. Collage on paper.
The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by Councilman Joel Wachs.

"The Expanding Field: MOCA's Collection from the 1940s to 1970s" is on view at MOCA Grand Avenue now through September 20, 2026.

Happy Birthday to MOCA collection artist James Turrell.

RUN don't walk. Today, Sunday, May 3, is the closing day of the most-talked about exhibition of the year. MONUMENTS is on view at The Geffen Contemporary at MOCA in Little Tokyo and The Brick in East Hollywood.

Visit moca.org for more information.

@thebrick_la

Image credits: Installation views of MONUMENTS, October 23, 2025–May 3, 2026 at The Geffen Contemporary at MOCA and The Brick. Courtesy of The Museum of Contemporary Art (MOCA) and The Brick. Photo by Fredrik Nilsen.

Artist Hank Willis Thomas talks about his work "A Suspension of Hostilities" (2019), on view in MONUMENTS.
MONUMENTS closes tomorrow, Sunday, May 3, 2026. Don't miss the opportunity to see the most-talked about exhibition this year. Admission is free all weekend. On view at The Geffen Contemporary at MOCA and The Brick.
Learn more at moca.org
@thebrick_la
@hankwillisthomas

The GGET x MOCA collaboration is finally here.

Starting May 9th, find our coffee cart posted up outside the Museum of Contemporary Art, Los Angeles, every Friday–Sunday. Stop by for your favorite drinks from GGET and make a day of art, coffee, and culture!

"What is a monument?" We asked this question to visitors at MONUMENTS, read some of their responses above.

MONUMENTS closes this Sunday, May 3, 2026. Admission is FREE at The Geffen Contemporary and The Brick. Don't miss your chance to see the most-talked about exhibition this year.

For more information: moca.org

@thebrick_la

"What is a monument?" We asked this question to visitors at MONUMENTS, read some of their responses above.

MONUMENTS closes this Sunday, May 3, 2026. Admission is FREE at The Geffen Contemporary and The Brick. Don't miss your chance to see the most-talked about exhibition this year.

For more information: moca.org

@thebrick_la

"What is a monument?" We asked this question to visitors at MONUMENTS, read some of their responses above.

MONUMENTS closes this Sunday, May 3, 2026. Admission is FREE at The Geffen Contemporary and The Brick. Don't miss your chance to see the most-talked about exhibition this year.

For more information: moca.org

@thebrick_la

"What is a monument?" We asked this question to visitors at MONUMENTS, read some of their responses above.

MONUMENTS closes this Sunday, May 3, 2026. Admission is FREE at The Geffen Contemporary and The Brick. Don't miss your chance to see the most-talked about exhibition this year.

For more information: moca.org

@thebrick_la

"What is a monument?" We asked this question to visitors at MONUMENTS, read some of their responses above.

MONUMENTS closes this Sunday, May 3, 2026. Admission is FREE at The Geffen Contemporary and The Brick. Don't miss your chance to see the most-talked about exhibition this year.

For more information: moca.org

@thebrick_la

"What is a monument?" We asked this question to visitors at MONUMENTS, read some of their responses above.

MONUMENTS closes this Sunday, May 3, 2026. Admission is FREE at The Geffen Contemporary and The Brick. Don't miss your chance to see the most-talked about exhibition this year.

For more information: moca.org

@thebrick_la

"What is a monument?" We asked this question to visitors at MONUMENTS, read some of their responses above.

MONUMENTS closes this Sunday, May 3, 2026. Admission is FREE at The Geffen Contemporary and The Brick. Don't miss your chance to see the most-talked about exhibition this year.

For more information: moca.org

@thebrick_la

"Are we ready to have a certain kind of conversation as a nation?" – Hamza Walker.

Walker, director of The Brick is the co-curator and mastermind behind the critically-acclaimed exhibition MONUMENTS. The exhibition closes this Sunday, May 3, 2026. Admission is FREE at both The Geffen Contemporary at MOCA and The Brick today through Sunday.

Visit moca.org for more information.

Take a time-out with the work of MOCA collection artist Vija Celmins. Best known for her meticulous paintings and drawings of natural phenomena such as the ocean, spider webs, skies, and deserts, Celmins takes details from images of nature’s surfaces and skies, but removes horizons or any central point of reference. She is interested in exploring the representation of three-dimensional space on a two-dimensional surface.

For Celmins, a work of art does not represent anything but itself. Even though she uses recognizable images of things, it is important to her that the viewer focuses on the artwork itself.

Image credits:

Vija Celmins, "Untitled (Galaxy)," 1975, Lithograph, p.p. The Museum of Contemporary Art, Los Angeles. Gift of Wells Fargo Bank, Los Angeles.

Vija Celmins, "Untitled (Ocean)," 1975, Lithograph, p.p. The Museum of Contemporary Art, Los Angeles. Gift of Wells Fargo Bank, Los Angeles.

Vija Celmins, "Untitled (Sky)," 1975, Lithograph, p.p. The Museum of Contemporary Art, Los Angeles. Gift of Wells Fargo Bank, Los Angeles.

Vija Celmins, "Untitled (Desert)," 1975, Lithograph, p.p. The Museum of Contemporary Art, Los Angeles. Gift of Wells Fargo Bank, Los Angeles.

Take a time-out with the work of MOCA collection artist Vija Celmins. Best known for her meticulous paintings and drawings of natural phenomena such as the ocean, spider webs, skies, and deserts, Celmins takes details from images of nature’s surfaces and skies, but removes horizons or any central point of reference. She is interested in exploring the representation of three-dimensional space on a two-dimensional surface.

For Celmins, a work of art does not represent anything but itself. Even though she uses recognizable images of things, it is important to her that the viewer focuses on the artwork itself.

Image credits:

Vija Celmins, "Untitled (Galaxy)," 1975, Lithograph, p.p. The Museum of Contemporary Art, Los Angeles. Gift of Wells Fargo Bank, Los Angeles.

Vija Celmins, "Untitled (Ocean)," 1975, Lithograph, p.p. The Museum of Contemporary Art, Los Angeles. Gift of Wells Fargo Bank, Los Angeles.

Vija Celmins, "Untitled (Sky)," 1975, Lithograph, p.p. The Museum of Contemporary Art, Los Angeles. Gift of Wells Fargo Bank, Los Angeles.

Vija Celmins, "Untitled (Desert)," 1975, Lithograph, p.p. The Museum of Contemporary Art, Los Angeles. Gift of Wells Fargo Bank, Los Angeles.

Take a time-out with the work of MOCA collection artist Vija Celmins. Best known for her meticulous paintings and drawings of natural phenomena such as the ocean, spider webs, skies, and deserts, Celmins takes details from images of nature’s surfaces and skies, but removes horizons or any central point of reference. She is interested in exploring the representation of three-dimensional space on a two-dimensional surface.

For Celmins, a work of art does not represent anything but itself. Even though she uses recognizable images of things, it is important to her that the viewer focuses on the artwork itself.

Image credits:

Vija Celmins, "Untitled (Galaxy)," 1975, Lithograph, p.p. The Museum of Contemporary Art, Los Angeles. Gift of Wells Fargo Bank, Los Angeles.

Vija Celmins, "Untitled (Ocean)," 1975, Lithograph, p.p. The Museum of Contemporary Art, Los Angeles. Gift of Wells Fargo Bank, Los Angeles.

Vija Celmins, "Untitled (Sky)," 1975, Lithograph, p.p. The Museum of Contemporary Art, Los Angeles. Gift of Wells Fargo Bank, Los Angeles.

Vija Celmins, "Untitled (Desert)," 1975, Lithograph, p.p. The Museum of Contemporary Art, Los Angeles. Gift of Wells Fargo Bank, Los Angeles.

Take a time-out with the work of MOCA collection artist Vija Celmins. Best known for her meticulous paintings and drawings of natural phenomena such as the ocean, spider webs, skies, and deserts, Celmins takes details from images of nature’s surfaces and skies, but removes horizons or any central point of reference. She is interested in exploring the representation of three-dimensional space on a two-dimensional surface.

For Celmins, a work of art does not represent anything but itself. Even though she uses recognizable images of things, it is important to her that the viewer focuses on the artwork itself.

Image credits:

Vija Celmins, "Untitled (Galaxy)," 1975, Lithograph, p.p. The Museum of Contemporary Art, Los Angeles. Gift of Wells Fargo Bank, Los Angeles.

Vija Celmins, "Untitled (Ocean)," 1975, Lithograph, p.p. The Museum of Contemporary Art, Los Angeles. Gift of Wells Fargo Bank, Los Angeles.

Vija Celmins, "Untitled (Sky)," 1975, Lithograph, p.p. The Museum of Contemporary Art, Los Angeles. Gift of Wells Fargo Bank, Los Angeles.

Vija Celmins, "Untitled (Desert)," 1975, Lithograph, p.p. The Museum of Contemporary Art, Los Angeles. Gift of Wells Fargo Bank, Los Angeles.