Sarah Charlesworth

Figures1983

“This is just an illusion”: Christina Quarles on “Now We’re There (And We’ Only Just Begun)”

Ken Gonzales-Day Excavates LACMA’s Collection in the New Metro D Line Station

This Week at LACMA: David Geffen Galleries Member Previews

This Week at LACMA

This Week at LACMA

50 Works 50 Weeks: Diego Rivera’s “Flower Day (Día de flores)”

All things can be true: Tavares Strachan and Diana Nawi in Conversation

Exhibitions to See in 2026

Looking Back at 2025 at LACMA

Diffuse Control by Beeple Iteration: Soft Jelly

50 Works 50 Weeks: Paolo Veronese’s “Allegory of Navigation with an Astrolabe” and “Allegory of Navigation with a Cross-Staff”

This Week at LACMA

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

50 Works 50 Weeks: John Deare’s “Judgment of Jupiter”

This Week at LACMA

Exploring Land, Indigenous Histories, and the David Geffen Galleries

50 Works 50 Weeks: Bartolomé Estebán Murillo’s “The Mystic Marriage of Saint Catherine”

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.”

50 Works 50 Weeks: George Bellows’s “Cliff Dwellers”

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

50 Works 50 Weeks: Fra’ Bartolomeo’s “Holy Family”

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

50 Works 50 Weeks: Thomas Eakins’s “Wrestlers”

New Acquisition: Max Beckmann’s “Self-Portrait”