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Tuesday 11am - 6pm Wednesday 11am - 6pm Thursday 11am - 6pm Friday 11am - 6pm Saturday 11am - 6pm

Jeffrey Deitch

𝓝𝓮𝔀 𝓨𝓸𝓻𝓴📍𝓛𝓸𝓼 𝓐𝓷𝓰𝓮𝓵𝓮𝓼
(239)

06/12/2026

𝗥𝘆𝗮𝗻 𝗠𝗰𝗚𝗶𝗻𝗹𝗲𝘆: 𝗡𝗶𝗴𝗵𝘁 𝗦𝗵𝗶𝗳𝘁 opens tomorrow, 𝗦𝗮𝘁𝘂𝗿𝗱𝗮𝘆, 𝗝𝘂𝗻𝗲 𝟭𝟯 from 𝟲-𝟴𝗣𝗠 at our 𝟭𝟴 𝗪𝗼𝗼𝘀𝘁𝗲𝗿 𝗦𝘁𝗿𝗲𝗲𝘁 gallery in New York 🗽🍎

Expanding on his career-defining visual language, Ryan’s newest project recodes the aesthetics of his early practice–the raw, energetic spontaneity of n**e bodies traversing the American landscape–to arrive at the endless possibilities of a nocturnal New York in a brave new world.

All are welcome! Bring a friend! No tickets or RSVP are required to join! 🚫🎟️

ʀʏᴀɴ ᴍᴄɢɪɴʟᴇʏ
ɴɪɢʜᴛ ꜱʜɪꜰᴛ
18 ᴡᴏᴏꜱᴛᴇʀ ꜱᴛʀᴇᴇᴛ, ɴᴇᴡ ʏᴏʀᴋ
ᴊᴜɴᴇ 13-ᴀᴜɢᴜꜱᴛ 8
ᴏᴘᴇɴɪɴɢ ʀᴇᴄᴇᴘᴛɪᴏɴ: ꜱᴀᴛᴜʀᴅᴀʏ, ᴊᴜɴᴇ 13, 6-8ᴘᴍ

06/11/2026

𝕎𝕖’𝕣𝕖 𝕝𝕖𝕤𝕤 𝕥𝕙𝕒𝕟 𝟙𝟘 𝕕𝕒𝕪𝕤 𝕒𝕨𝕒𝕪 𝕗𝕣𝕠𝕞 𝕥𝕙𝕖 𝔸𝕣𝕥 ℙ𝕒𝕣𝕒𝕕𝕖! 🤸‍♀️🎉💃

Join us on 𝗝𝘂𝗻𝗲 𝟮𝟬 as we celebrate the LA iteration of Jeffrey Deitch’s iconic Art Parade in conjunction with the opening of the new David Geffen Galleries at LACMA ( Los Angeles County Museum of Art ). There will be a spectacular public procession along L.A.’s Museum Row, presented in conjunction with the LACMA Block Party.

Expect puppets 🎭, clowns 🤡, balloons 🎈, marching bands 🥁, and more🙊—a joyful collision of art, imagination, and community that will transform the streets into a moving celebration of creativity.

𝒲𝑒 𝒸𝒶𝓃’𝓉 𝓌𝒶𝒾𝓉 𝓉𝑜 𝓈𝑒𝑒 𝓎𝑜𝓊 𝒶𝓁𝓁𝓁𝓁𝓁𝓁 𝓉𝒽𝑒𝓇𝑒! 🤞

06/06/2026

ᴄʜᴀʀʟᴇꜱ ʀᴀʏ’ꜱ iconic ꜰɪʀᴇᴛʀᴜᴄᴋ (1993) operates around one reversible equation: is it a toy becoming real or is the real becoming a toy? 🚒🚨

Ray approaches objects as complete cultural systems, not just their form but everything they contain and project: their engineering, their cost, their symbolic life, and the people who identify with them. Firetruck is not simply a monumental sculpture occupying public space; it is an object already woven into the fabric of city life. So much so that, placed outdoors, it might not immediately register as sculpture at all.

Originally, Ray intended the work to remain outside, weathering over time like a toy abandoned in a sandbox. Yet despite its changing contexts—from its installation outside the old Whitney Museum on Madison Avenue in 1993 (pictured on slide 3) to its presentation in our gallery today—the sculpture continues to transform the spaces it inhabits. Even now, it’s turning the gallery itself into a firehouse. In this way, the work reflects one of Ray’s enduring concerns: how to embed objects so completely in the world that they no longer distinguish themselves as art.

Today is the ꜰɪɴᴀʟ ᴅᴀʏ to experience Charles Ray’s solo exhibition at our 925 ɴ. ᴏʀᴀɴɢᴇ ᴅʀɪᴠᴇ gallery. We are open until 6 PM. ⏰⏰

06/06/2026

ᴄʜᴀʀʟᴇꜱ ʀᴀʏ’ꜱ iconic ꜰɪʀᴇᴛʀᴜᴄᴋ (1993) operates around one reversible equation: is it a toy becoming real or is the real becoming a toy? 🚒🚨

Ray approaches objects as complete cultural systems, not just their form but everything they contain and project: their engineering, their cost, their symbolic life, and the people who identify with them. Firetruck is not simply a monumental sculpture occupying public space; it is an object already woven into the fabric of city life. So much so that, placed outdoors, it might not immediately register as sculpture at all.

Originally, Ray intended the work to remain outside, weathering over time like a toy abandoned in a sandbox. Yet despite its changing contexts—from its installation outside the old Whitney Museum on Madison Avenue in 1993 to its presentation in our gallery today—the sculpture continues to transform the spaces it inhabits. Even now, it’s turning the gallery itself into a firehouse. In this way, the work reflects one of Ray’s enduring concerns: how to embed objects so completely in the world that they no longer distinguish themselves as art.

Today is the ꜰɪɴᴀʟ ᴅᴀʏ to experience Charles Ray’s solo exhibition at our 925 ɴ. ᴏʀᴀɴɢᴇ ᴅʀɪᴠᴇ gallery. We are open until 6 PM ⏰⏰

06/04/2026

Check-out 𝐅𝐫𝐚𝐧𝐤 𝐁𝐞𝐧𝐬𝐨𝐧 ( .info )’𝐬, 𝐂𝐚𝐬𝐭𝐚𝐰𝐚𝐲 (𝟐𝟎𝟏𝟖), now on view in the permanent collection of the 𝐖𝐡𝐢𝐭𝐧𝐞𝐲 𝐌𝐮𝐬𝐞𝐮𝐦 ( ) 🏴‍☠️🦜

ᴛʜᴇ ᴛɪᴛʟᴇ ᴡᴀꜱ ɪɴꜱᴘɪʀᴇᴅ ʙʏ ᴛʜᴇ ᴀʀᴄʜᴇᴛʏᴘᴇ ᴏꜰ ᴛʜᴇ ᴄᴀꜱᴛᴀᴡᴀʏ: ꜱᴏᴍᴇᴏɴᴇ ᴡʜᴏ’ꜱ ꜱᴛʀᴀɴᴅᴇᴅ ᴏɴ ᴀɴ ɪꜱʟᴀɴᴅ ᴀɴᴅ ʜᴀꜱ ᴛᴏ ᴍᴀᴋᴇ ᴅᴏ ᴡɪᴛʜ ᴛʜᴇ ᴅᴇᴛʀɪᴛᴜꜱ ᴏꜰ ᴍᴏᴅᴇʀɴ ʟɪꜰᴇ ᴛᴏ ꜱᴏʀᴛ ᴏꜰ ʙᴜɪʟᴅ ᴛʜᴇɪʀ ᴏᴡɴ ᴡᴏʀʟᴅ ᴀɴᴅ ꜱᴜʀᴠɪᴠᴇ.

ɪ ᴛʜɪɴᴋ ᴛʜᴀᴛ ᴀʀᴛɪꜱᴛꜱ ᴀɴᴅ ᴀ ʟᴏᴛ ᴏꜰ ᴏᴛʜᴇʀ ᴘᴇᴏᴘʟᴇ ᴀʀᴇ ɪɴ ᴀ ꜱᴏʀᴛ ᴏꜰ ᴘʀᴇᴄᴀʀɪᴏᴜꜱ ᴘᴏꜱɪᴛɪᴏɴ ɪɴ ᴛʜᴇ ᴡᴏʀʟᴅ, ᴇᴄᴏɴᴏᴍɪᴄᴀʟʟʏ, ᴀɴᴅ ᴛʜᴇʏ ᴏꜰᴛᴇɴ ʜᴀᴠᴇ ᴛᴏ ꜱᴏʀᴛ ᴏꜰ ꜱᴄʀᴀᴘᴇ ᴛʜɪɴɢꜱ ᴛᴏɢᴇᴛʜᴇʀ ꜰʀᴏᴍ ᴅɪꜰꜰᴇʀᴇɴᴛ ᴊᴏʙꜱ, ᴅɪꜰꜰᴇʀᴇɴᴛ ꜱᴏᴜʀᴄᴇꜱ. ʙᴜᴛ ɪ ᴀʟꜱᴏ ꜱᴀᴡ ɪᴛ ᴀꜱ ꜱᴏʀᴛ ᴏꜰ ᴀɴᴀʟᴏɢᴏᴜꜱ ᴛᴏ ᴛʜᴇ ʀᴏʟᴇ ᴏꜰ ᴛʜᴇ ᴀʀᴛɪꜱᴛ ᴡʜᴏ ꜰɪɴᴅꜱ ʀᴇᴀᴅʏ-ᴍᴀᴅᴇ ᴏʙᴊᴇᴄᴛꜱ ᴀɴᴅ ᴛʜᴇɴ ʀᴇᴘᴜʀᴘᴏꜱᴇꜱ ᴛʜᴇᴍ ꜰᴏʀ ᴀʀᴛɪꜱᴛɪᴄ ᴜꜱᴇꜱ.-Frank Benson for The Whitney Museum, Minisode

You can find the work on the 8th floor of the museum and for more information, please visit website!

06/04/2026

In memoriam

Celeste Dupuy-Spencer (1979-2026)

Artwork details -
Untitled, 2026
Oil on canvas
52 x 42 x 1/2 inches

This is your last week to view Celeste Dupuy-Spencer: Burning in the Eyes of the Maker on view at our 7000 Santa Monica Blvd. gallery.

The gallery is opening 11AM-6PM through Saturday. No tickets or RSVP required.

06/03/2026

This is your 𝓁𝒶𝓈𝓉 𝓌𝑒𝑒𝓀 to view 𝒲𝒶𝓁𝓉𝑒𝓇 𝑅𝑜𝒷𝒾𝓃𝓈𝑜𝓃: 𝐿𝑒𝓉 𝓉𝒽𝑒 𝑀𝓊𝓈𝒾𝒸 𝒫𝓁𝒶𝓎 at our 𝟣𝟪 𝒲𝑜𝑜𝓈𝓉𝑒𝓇 𝒮𝓉𝓇𝑒𝑒𝓉 gallery 👨‍🎨🎨

There’s no telling why Robinson decided to become a great painter, why he worked so hard at it or if he even foreknew he had the talent for such a remarkable touch, perhaps it was an abiding love of the medium and those who plied it or maybe he just recognized that certain painterly flourishes offer an allure, like an intimate caress or a whispered nothing, that can beguile and enchant in seemingly effortless fashion. He’s a conceptual painter who understood that his ideas could be far more subversive if they could be conveyed in a less cerebral fashion. What, we must wonder, could be more problematic than sugar-coating our problems? His visual confections, all the more dangerous for their deliciousness, are all come-on and tease, titillations launched as distractions and lodged as precognitive mind-mines of careful what you wish for prescience. Too good to be true, they are ultimately as troubling as they are satisfying, deceptions that are completely honest. - Carlo McCormick 🍩🧁

The exhibition is open 𝟣𝟤-𝟨𝒫𝑀 through 𝒮𝒶𝓉𝓊𝓇𝒹𝒶𝓎, 𝒥𝓊𝓃𝑒 𝟨. No tickets or RSVP needed! 🤸‍♀️🫶

06/03/2026

ᴄʜᴀʀʟᴇꜱ ʀᴀʏ’ꜱ ᴛᴀʙʟᴇ (1990) is a sculptural investigation into the historic subject of the still life 🔎

Unlike the traditional still lifes, where endless amounts of subtle shifts can constantly refine the arrangement, Ray’s piece deliberately eliminates that possibility. Through a system of holes, the objects on the table are ‘locked’ into the composition- once set the composition becomes immovable. The stability is achieved structurally.

From its starting point, the mostly glass sculpture expands into a broader investigation of space as the primary medium. Rather than functioning as a self-contained object, the work allows the surrounding world to flow around it, continuously existing only in relation to its environment.

The table holds the key role. Both imperceptible and also carrying personal attachments, the artists is able to touch on relationships to the body, perception and environment. Such as the personal dimension taken on by the artist and the association with his wife, Sylvia. The table is a place where their shared life flows.

The final work reflects a strong sense of confidence: a minimal yet resolute structure that feels both grounded in the world and resistant to change.

Table (1990) is on view at our 925 ɴ. ᴏʀᴀɴɢᴇ ᴅʀɪᴠᴇ gallery for only one more week apart of Charles Ray’s solo exhibition 🖤🖤

ᴄʜᴀʀʟᴇꜱ ʀᴀʏ
ᴛᴀʙʟᴇ, 1990
ᴘʟᴇxɪɢʟᴀꜱ ᴀɴᴅ ꜱᴛᴇᴇʟ
35.625 x 35.625 x 52.75 ɪɴᴄʜᴇꜱ

06/02/2026

ᴄʜᴀʀʟᴇꜱ ʀᴀʏ’ꜱ ᴛᴀʙʟᴇ (1990) is a sculptural investigation into the historic subject of the still life 🔎

Unlike the traditional still lifes, where endless amounts of subtle shifts can constantly refine the arrangement, Ray’s piece deliberately eliminates that possibility. Through a system of holes, the objects on the table are ‘locked’ into the composition- once set the composition becomes immovable. The stability is achieved structurally.

From its starting point, the mostly glass sculpture expands into a broader investigation of space as the primary medium. Rather than functioning as a self-contained object, the work allows the surrounding world to flow around it, continuously existing only in relation to its environment.

The table holds the key role. Both imperceptible and also carrying personal attachments, the artists is able to touch on relationships to the body, perception and environment. Such as the personal dimension taken on by the artist and the association with his wife, Sylvia. The table is a place where their shared life flows.

The final work reflects a strong sense of confidence: a minimal yet resolute structure that feels both grounded in the world and resistant to change.

Table (1990) is on view at our 925 ɴ. ᴏʀᴀɴɢᴇ ᴅʀɪᴠᴇ gallery for only one more week apart of Charles Ray’s solo exhibition! 🖤🖤

ᴄʜᴀʀʟᴇꜱ ʀᴀʏ
ᴛᴀʙʟᴇ, 1990
ᴘʟᴇxɪɢʟᴀꜱ ᴀɴᴅ ꜱᴛᴇᴇʟ
35.625 x 35.625 x 52.75 ɪɴᴄʜᴇꜱ

06/02/2026

Catch Ryan McGinley ( ) in the latest issue of New York Magazine ( ), on stands now 🗽⛲️📸

𝙰𝚜 𝙼𝚌𝙶𝚒𝚗𝚕𝚎𝚢 𝚔𝚎𝚙𝚝 𝚜𝚗𝚊𝚙𝚙𝚎𝚍 𝚊𝚠𝚊𝚢 𝚠𝚒𝚝𝚑 𝚊 𝚕𝚘𝚗𝚐 𝚕𝚎𝚗𝚜, 𝚑𝚒𝚜 𝚜𝚝𝚛𝚘𝚋𝚎 𝚒𝚕𝚕𝚞𝚖𝚒𝚗𝚊𝚝𝚒𝚗𝚐 𝚝𝚑𝚎 𝚏𝚘𝚞𝚗𝚝𝚊𝚒𝚗, 𝚊 𝚖𝚊𝚗 𝚎𝚖𝚎𝚛𝚐𝚎𝚍 𝚠𝚒𝚝𝚑 𝚊 𝚟𝚒𝚘𝚕𝚒𝚗. “𝙸𝚝 𝚠𝚊𝚜 𝚜𝚘 𝚋𝚎𝚊𝚞𝚝𝚒𝚏𝚞𝚕,” 𝚜𝚊𝚒𝚍 𝙼𝚌𝙶𝚒𝚗𝚕𝚎𝚢. “𝙽𝚎𝚠 𝚈𝚘𝚛𝚔𝚎𝚛𝚜 𝚍𝚘𝚗’𝚝 𝚋𝚊𝚝 𝚊𝚗 𝚎𝚢𝚎. 𝚃𝚑𝚎𝚢’𝚛𝚎 𝚕𝚒𝚔𝚎 ‘𝙰𝚗𝚘𝚝𝚑𝚎𝚛 𝚍𝚊𝚢 𝚒𝚗 𝙽𝚎𝚠 𝚈𝚘𝚛𝚔. 𝙻𝚎𝚝 𝚖𝚎 𝚓𝚞𝚜𝚝 𝚔𝚎𝚎𝚙 𝚙𝚕𝚊𝚢𝚒𝚗𝚐 𝚖𝚢 𝚖𝚞𝚜𝚒𝚌.” - Sam Hine ( ), New York Magazine

Be sure to grab your copy and join us on June 13 from 6–8 PM for the opening of Ryan McGinley’s first solo exhibition in New York in nearly a decade, at our 18 Wooster Street gallery 🌃🎉

Address

925 North Orange Drive
Los Angeles, CA
90038

Opening Hours

Tuesday	11am - 6pm
Wednesday	11am - 6pm
Thursday	11am - 6pm
Friday	11am - 6pm
Saturday	11am - 6pm

Telephone

+13239253000

Website

http://www.deitch.com/

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