Munakata Shikō (after)

Landscapecirca 1941

Everything You Need to Know About LACMA’s New David Geffen Galleries

Discover LACMA’s New Architectural Landmark at These Free Workshops with AIA Los Angeles

The Art of Transparency: Reiko Sudō’s Textile Innovation for LACMA

New Acquisition: Alejandro Otero’s “Tablón 32”

“Most movies don’t take 10,000 years to make”: Jonathon Keats on “Deep Time Cinematography”

Join The Art Parade 2026 at LACMA

50 Works 50 Weeks: Sarah Rosalena’s “Threading the Infinite: Omnidirectional Terrain”

50 Works 50 Weeks: Mariana Castillo Deball’s “Feathered Changes”

Exhibitions to See in 2026

Diffuse Control by Beeple Iteration: Future Past

Digital Art Conversations in Miami Beach: A Look Back at LACMA’s Second Annual Gathering

50 Works 50 Weeks: Raymond Loewy’s Studebaker Avanti

Celebrate NexGenLA with Family Fun Inspired by Our Modern Art Galleries

LACMA and Genesis Embark on New Multi-Year Partnership

Planting Jeff Koons’s “Split-Rocker”

Andell Family Sundays: Explorations in Ink at Home

This Week at LACMA

50 Works 50 Weeks: Henri Cartier-Bresson’s “Typical landscape of the Chinese countryside, with an ancient temple. Near Sanmenxia, on the Yellow River. August 1958.”

The Henry and Rose Pearlman Foundation to Gift Its Collection of Impressionist, Post-Impressionist, and Modern Artworks Across Three U.S. Institutions

Artists Represent Themselves: Widline Cadet on “Seremoni Disparisyon #1 (Ritual [Dis]Appearance #1)”

Building Project: June 27 Update

Building Project: June 20 Update

Building Project: June 13 Update

New Acquisition: Six Works by Japanese American Modernists