Jenn and Ken Visocky O'Grady

She2016

50 Works 50 Weeks: Stephanie Shih’s “梅國 (Still life with chamoy and Dirty T Tamarindo)”

Painting LACMA’s David Geffen Galleries with Light, Shadow, and Color

50 Works 50 Weeks: Henri Matisse’s “La Gerbe”

50 Works 50 Weeks: Francis Bacon’s “Three Studies of Lucian Freud”

Cupid and Psyche: Art History's Original Third-Act Break-Up

50 Works 50 Weeks: Lisa Reihana’s “Dancing Bride”

50 Works 50 Weeks: Lavinia Fontana’s “The Holy Family with Saint Catherine of Alexandria”

Currents of Memory: The Oceanic Worlds of “Stray Dog Hydrophobia”

50 Works 50 Weeks: Robe à l’anglaise Ensemble

Remembrance of Things Future: A Conversation with Yatreda's Kiya Tadele on Responding to LACMA’s Collection

50 Works 50 Weeks: Bastet

Remembrance of Things Future: A Conversation with Yatreda's Kiya Tadele on Her Practice and the Blockchain

Yet, the Ocean Still Grieves: Composer Yasna Yamaoka Vismale on “Stray Dog Hydrophobia”

In Memoriam: Jackie Ferrara (1929–2025)

Explore Ecology and Extraction at a Performance and Screening of “S̶t̶r̶a̶y̶ D̶o̶g̶ Hydrophobia”

50 Works 50 Weeks: The Hope Athena

50 Works 50 Weeks: Ruth Asawa’s “Untitled” (S.027)

Francis Bacon’s “Three Studies of Lucian Freud” Is Bequeathed to LACMA by the Estate of Elaine Wynn

Frances Stark’s Way of Seeing

Installing “Octavia’s Gaze” with Todd Gray

In Memoriam: Wallis Annenberg (1939–2025)

50 Works 50 Weeks: Scherezade García's “Harvest of the Sea”

Artists Represent Themselves: Frida Orupabo on “Untitled (sources unknown except Shadman Shahid [bottom left])”

“What does it take to feel autonomy these days?”: Lauren Lee McCarthy on “Auto”