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06/01/2026

On the evening of Saturday, May 30, MOCA celebrated its 2026 Gala, honoring philanthropist and longtime MOCA Trustee Eugenio López Alonso and visionary artists Kara Walker and Paul McCarthy. More than 500 patrons, artists, and leading figures from the cultural and entertainment worlds gathered in support of MOCA’s world-renowned exhibitions, programs, and operations, helping raise over $3 million for the museum. The evening was underwritten and generously supported by MOCA Board of Trustees Chair Emeritus Maria Seferian.
Upon arrival at The Geffen Contemporary at MOCA, guests were welcomed through a series of special interventions by celebrated Los Angeles artist Piero Golia in collaboration with Edwin Chan, Stephen Galloway, Laila Gohar, Thomas Kotcheff, Chris Kronner, Pietro Scalia, and Benjamin Schwartz. Guests encountered special installations created in collaboration with McCarthy and Walker, and enjoyed live performances by The MOCA Gala Symphony Orchestra conducted by Schwartz.

For more information:https://www.moca.org/storage/app/media/Press%20Releases/2026/MOCA_2026Gala_PostEvent_PressRelease_FINAL.pdf

Image credits: Piero Golia, Paul McCarthy, MOCA Board Chair Carolyn Clark Powers, MOCA Board Vice-Chair Eugenio López Alonso, MOCA Interim Maurice Marciano Director Ann Goldstein, Kara Walker. Photograph by Stephanie Keenan, Getty Images; Lauren Halsey. Photograph by Stephanie Keenan, Getty Images; Alfonso Gonzalez Jnr.. Photograph by Stephanie Keenan, Getty Images; Special installation by Paul McCarthy and Kara Walker. Photograph by Emma McIntyre, Getty Images; Katy Barkan and Catherine Opie. Photograph by Jason Sean Weiss, BFA.com; Cake being served at the Gala’s finale. Photograph by Jason Sean Weiss, BFA.com; Max Hooper Schnieder. Photograph by Jojo Korsch, BFA.com; Charles Gaines and Roxana Landaverne. Photograph by Jojo Korsch, BFA.com; The MOCA Gala Symphony Orchestra. Photograph by Jojo Korsch, BFA.com. All images courtesy of The Museum of Contemporary Art, Los Angeles.

05/27/2026

"The artist’s play on light and shadow transforms Venetian blinds into haunting reflections on exile, borders, and the longing for reunification." – Alex Paik, Hyperallergic.

Read the full review of "Haegue Yang: Star-Crossed Rendezvous" here: https://hyperallergic.com/haegue-yangs-constellations-for-a-divided-korea/?ref=daily-newsletter

The exhibition is on view at MOCA Grand Avenue, through August 2, 2026.

Image credit: Sarah Galonka.

05/21/2026

Haegue Yang transforms everyday objects into something extraordinary. This large hanging sculpture, "Sol LeWitt Upside Down – K123456, Expanded 1078 Times, Doubled and Mirrored (2015)," is made from venetian blinds — the kind you might find in any home or office. Yang chose this material for its versatility: blinds can be flat or three-dimensional, see-through or solid, bunched together or spread wide open.

The work is inspired by a sculpture by Sol LeWitt (1928–2007). LeWitt built work around strict, self-made rules and his original piece was a low, floor-based structure made of open cube shapes arranged into towers. Yang took that idea and completely reinvented it: she swapped the cubes for venetian blinds, made the whole structure bigger, split it into separate parts, and hung it upside down from the ceiling.

By building on another artist's work so openly, Yang raises interesting questions about creativity and ownership — who gets credit for an idea, and what does it mean to make something original? She also transforms LeWitt's sculpture from something you look at into something you move through, walking around, beneath, and between its parts. As you move, the light filtering through the blinds shifts and changes.

On view in Haegue Yang: Star-Crossed Rendezvous, MOCA Grand Avenue, now through August 2, 2026.

Image credits: Sarah Galonka

05/20/2026

Carolyn Lazard (b. 1987, San Bernardino, CA) is an artist who works across video, sculpture, installation, and performance.

Lazard's practice is concerned with the generative capacity of debility: the idea that illness and physical limitation can be a source of creativity and knowledge, rather than simply something that holds a person back.

This Saturday, May 23, 2026, at 3pm, MOCA will be screening four of Lazard's films as part of this year's MOCA Artist Film Series. Tickets are free with RSVP.

For more information and to view the upcoming schedule: https://www.moca.org/artistfilmseries

Image credit:

Video Still from "Vital," 2025. Image courtesy of the artist.

05/15/2026

VALIE EXPORT (1940-2026)

VALIE EXPORT was one of Austria's most prominent artists of the postwar avant garde. Over seven decades, she experimented with video, expanded cinema, conceptual photography, persona performances, computer works, laser installations, drawings, and objects and published extensively on contemporary art.

Born in Linz, Austria, in 1940, she moved to Vienna in 1960 and quickly made contact with the group of artists known as the Viennese Actionists. In 1967, she coined the name VALIE EXPORT--written in capital letters--as her artistic concept and logo, inspired in part by the package for Smart Export ci******es. She gave up her given name (her father's name) to render a new name synonymous with radical self-determination.

EXPORT was interested in how bodies--primarily those of women--are shaped by external factors, such as language, technology, and the media, so as to create inner states or conditions. Often working in public spaces, she used her body as a medium for the exploration of social reality.

EXPORT's work was featured in two major exhibitions at MOCA, "Out of Actions: Between Performance and the Object, 1949-1979" (1998) and "WACK! Art and the Feminist Revolution" (2007).

Her 1968 work "Identity Transfer 1-3" is included in MOCA's collection. The triptych shows the artist mugging for the camera in a wig, zippered jacket, and gold jewelry, subtly modulating her poses, facial expressions, and clothing styling. This work explores how photography transfers or transforms complex self-identity into a static image, deconstructing the ways that make-up, jewelry, hair, clothes, stance, and other culturally defined gender codes, or signs, denote feminine identity. EXPORT understood the significant role that visual media like photography, television, cinema, painting, and sculpture have historically played in representing a repressive, sexist image of women. However, EXPORT saw these same media as potential tools for women’s social advancement. She argued that art can and should be a medium for women to develop a new image of themselves, as defined for and by themselves.

Image credit: VALIE EXPORT, "Identity Transfer 1–3," (1968). Black and white photographs. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by the Photography Committee.

05/06/2026

Happy Birthday to MOCA collection artist James Turrell.

05/04/2026

Our MOCA Teens met with artist Joey Terrill last week and learned about his experience growing up as a teen in LA, advocacy, and his journey as an artist.

Interested in becoming a MOCA Teen, or know a teen who loves contemporary art? Applications for our next cohort are open now! Learn more at: https://www.moca.org/education/mocateens -teen-program

05/02/2026

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

04/28/2026

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.

04/28/2026

Today MOCA remembers George Herms (1935–2026), a native Californian, influential figure of the Beat Generation, and artist in MOCA’s collection, best known for his assemblage work. Herms began his long career in the 1940s by making valentines out of cut paper and glue; throughout his life, musicality, spirituality, and poetic expression remained integral to his work. "California Landscaping," (1978) was installed in "Mapping An Art World: Los Angeles in the 1970s-80s" at MOCA Grand Avenue in 2024. Our thoughts are with his family and friends.

04/26/2026

CLOSING ONE WEEK TODAY!

Don't miss your chance to see one of the most talked-about exhibitions of the year. MONUMENTS closes next Sunday, May 3, 2026.

MONUMENTS FREE FOR ALL starts this Wednesday, April 29, and continues through to the final day, Sunday, May 2, 2026. Free admission. Extended hours. Final days. For more information, visit moca.org

On view at The Geffen Contemporary at MOCA and The Brick.

Image credit: Jamie Pham.

04/24/2026

The Rothko's are back and on view at MOCA Grand Avenue.

Mark Rothko’s celebrated paintings use variations of color, tone, and transparency to create atmospheric spaces of ambiguous depth in which horizontally stacked bands float upon colored grounds.

Disillusioned by politics generally and the catastrophes of the Second World War particularly—genocide, atomic warfare, and fascism—Rothko, like many fellow Abstract Expressionists, tried to understand modern life in terms of the timeless human condition.

On view in the exhibition "The Expanding Field: MOCA's Collection from the 1940s to 1970s." Now through August 2, 2026.

04/24/2026

How does artist Karon Davis, shift the power balance away from a mythological version of the past to look to the future?

Davis's "Descendant" (2025) is one of the 12 artworks commissioned for MONUMENTS. It is a monumental, nine-foot-tall, portrait of the artist's son, Moses, depicted standing on a pedestal and holding in his outstretched hands a miniature replica of a statue of John Hunt Morgan. Morgan was a Kentucky plantation owner and US-Mexican War veteran who became a celebrated Confederate general. A memorial statue to Morgan was on the Lexington Courthouse Lawn from 1911–2018 when it was moved to the Confederate section of the Lexington Cemetery.

Like many Americans, for Davis, the inheritance of Civil War history is a personal subject as she grew up being told she was a descendant of Morgan. In preparation for creating this work, Davis undertook extensive genealogical research to explore a possible relation. Though unable to definitely confirm one, she did identify two enslaved ancestors, Daphne and Simon Middleton. "Descendant" recalibrates her family tree away from the legacy of the Civil War, shifting the power balance towards her son Moses and the future, rather than a mythological version of the past.

Don't miss your chance to see MONUMENTS now in it's final weeks. On view at The Geffen Contemporary at MOCA and The Brick through May 3, 2026.

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

04/22/2026

On Earth Day we're looking at the "Zuma #20," 1978/2006, by Californian artist John Divola. For his "Zuma" Series (1977–78) Divola repeatedly photographed an abandoned beach house in Malibu over a two-year period, framing luminous views of the Pacific Ocean through its tattered interior. The dissonance is typical of Divola's work and of Southern California: awesome nature matched by equally awesome urban destruction. Despite the seemingly endless sprawl, it is rare in the Los Angeles basin that one cannot see out of it to the wilderness beyond.

"Zuma #20" (1978 / 2006) is on view in "The Expanding Field: MOCA's Collection from the 1940s to 1970s." At MOCA Grand Avenue, through August 2, 2026.

Image credits:

John Divola, "Zuma #20," 1978/2006. Epson pigment print on Crane silver rag paper. The Museum of Contemporary Art, Los Angeles Partial and promised gift of Philip Greider.

04/21/2026

MONUMENTS is in its final days — and admission is free for all from April 29 – May 3. This is your last chance to experience one of the most talked-about exhibitions of the year. Join us for extended hours and a final series of guided tours before it's gone.

Learn more: moca.org/program/monuments-free-for-all

04/19/2026

Visitor reflections from MONUMENTS.

Closing two weeks today on Sunday, May 3, 2006. Don't miss your chance to see this critically-acclaimed exhibition. On view at The Geffen Contemporary at MOCA and The Brick.

Learn more at moca.org

04/19/2026

Let me take you to MOCA TEEN NIGHT!!!

04/18/2026

"The Expanding Field: MOCA's Collection from the 1940s to 1970s" opens today, Saturday, April 18, 2026 a MOCA Grand Avenue.

Featuring recent acquisitions alongside beloved artworks that have long been mainstays of MOCA’s collection, highlights include a gallery dedicated to the abstract expressionist canvasses of Mark Rothko, an oil by Luchita Hurtado from the artist’s 'I Am' series that belongs to the Mohn Art Collective, as well as paintings, sculptures, and work in all media by figures including Piet Mondrian, On Kawara, Robert Rauschenberg, Betye Saar, and Anne Truitt, among others.

On view through September 20, 2026. Entry is free.

Image credit: Mark Rothko, "No. 301 (Reds and Violet over Red/Red and Blue over Red) [Red and Blue over Red]," 1959. Oil on canvas. The Museum of Contemporary Art, Los Angeles The Panza Collection. ©1998 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York.

04/07/2026

HEY STUDENTS!

Got summer plans? MOCA | The Museum of Contemporary Art is hiring TWO Getty Marrow Interns in Education and Registration. Apply now and join us for a summer of learning and discovery!

Application deadline is April 19, 2026.

Learn more: https://www.moca.org/about/jobs-and-internships -marrow-registration-intern

04/03/2026

MOCA is hiring a Social Media Manager!

We are looking for candidates who execute creative short-form content. A background in contemporary art or working within arts non-profits is a plus.

Apply now!

moca.org/about/jobs-and-internships

04/03/2026

Calling all teachers and educators!

Learn how to lead energizing, thoughtful discussions about art that include all your students. Gain immediately useful, transferable skills and meet new colleague-friends in CAS, MOCA’s award-winning, yearlong art education program for 3rd-12th grade. And now welcoming educators at non-profits.

Sign up by May 1, 2026. Space is limited.

Learn more here: www.moca.org/education/teachers

Questions? Please email us at [email protected]

03/27/2026

⬜ "Sol LeWitt Upside Down – K123456, Expanded 1078 Times, Doubled and Mirrored," 2015 is a soaring monochromatic installation by Haegue Yang that references the cube structures of American conceptual artist Sol LeWitt (1928–2007). Yang replaces LeWitt's open cubes with a dense accumulation of her signature venetian blinds, featuring layers of slotted angular forms that oscillate between transparency and opacity.

👁️ On view through August 2, 2026 at MOCA Grand Avenue
🎟️ Reserve your free ticket at the link in 🔗

Image credit:
Haegue Yang, "Sol LeWitt Upside Down – K123456, Expanded 1078 Times, Doubled and Mirrored," 2015. Aluminum venetian blinds, powder-coated aluminum hanging structure, steel wire rope, fluorescent tubes, and cable. Courtesy of the artist.

03/25/2026

These bronze ingots were once the towering monument to Robert E. Lee that stood for nearly a century in Charlottesville.

In 2021, following years of litigation, the statue was taken down by the city, and ownership transferred to the Jefferson School — African American Heritage Center. Through their Swords Into Plowshares initiative, the bronze was recast into ingots that will serve as material for a future work of public art. Also on view: “slag,” the leftover impurities, and a spray-painted granite fragment from the monument’s base.

See the ingots, midway through their transformation at MONUMENTS at The Geffen Contemporary at MOCA through May 3, 2026.

MONUMENTS
📆 Now through May 3, 2026
📍The Geffen Contemporary at MOCA
📍The Brick, Los Angeles

Plan your visit at the link below ↓
https://moca.ticketapp.org/portal/product/319/events

—
Ingots and base fragment from Robert E. Lee Monument, Charlottesville, Virginia
Bronze, granite, and impurities. Jefferson School — African American Heritage Center, Charlottesville, Virginia. Photo by Fredrik Nilsen.

03/23/2026

🎂 Today is Joe Goode's birthday. 🎂

Part of a generation of painters who moved from abstraction toward representations of everyday objects and actions, Goode explored the quiet presence of objects touched, overlooked, and lived with.

See works by Goode on view in "Gifts of Michael Asher" at MOCA Grand Avenue through August 2, 2026.

Reserve your FREE tickets at the link below ↓
https://bit.ly/4qKH1Ja

—
Joe Goode, "Untitled Window Painting," 1965. MOCA, Los Angeles. Gift of Michael Asher. © Joe Goode Estate.
Joe Goode, "Brown House," 1963-64. MOCA, Los Angeles. Gift of Michael Asher. © Joe Goode Estate.
Joe Goode, "Purple," 1961-62. MOCA, Los Angeles. Gift of Michael Asher. © Joe Goode Estate.

03/20/2026

Hello, spring! 🌼

In the 1980s, created a series of bright, graphic flower paintings that transform a familiar symbol of spring into bold patterns of color and shape. Inspired by the visual language of 1960s “flower power” graphics and decorative design, his work celebrates the joy, energy, and vibrancy of everyday life. A joyful welcome to the season of renewal.

—
Jim Isermann, "Untitled (Flower painting) (0785)," 1985. MOCA, Los Angeles. Gift of Hudson.

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