Issue 35 February 2024

Issue 34 November 2023

Issue 33 August 2023

Issue 32 June 2023

Issue 31 February 2023

Issue 30 November 2022

Issue 29 August 2022

Issue 28 May 2022

Issue 27 February 2022

Issue 26 November 2021

Issue 25 August 2021

Issue 24 May 2021

Issue 23 February 2021

Issue 22 November 2020

Issue 21 August 2020

Issue 20 May 2020

Issue 19 February 2020

Letter from the Editor –Lindsay Preston Zappas
Parasites in Love –Travis Diehl
To Crush Absolute On Patrick Staff and
Destroying the Institution
–Jonathan Griffin
Victoria Fu:
Camera Obscured
–Cat Kron
Resurgence of Resistance How Pattern & Decoration's Popularity
Can Help Reshape the Canon
–Catherine Wagley
Trace, Place, Politics Julie Mehretu's Coded Abstractions
–Jessica Simmons
Exquisite L.A.: Featuring: Friedrich Kunath,
Tristan Unrau, and Nevine Mahmoud
–Claressinka Anderson & Joe Pugliese
Reviews April Street
at Vielmetter Los Angeles
–Aaron Horst

Chiraag Bhakta
at Human Resources
–Julie Weitz

Don’t Think: Tom, Joe
and Rick Potts

–Matt Stromberg

Sarah McMenimen
at Garden
–Michael Wright

The Medea Insurrection
at the Wende Museum
–Jennifer Remenchik

(L.A. in N.Y.)
Mike Kelley
at Hauser & Wirth
–Angella d’Avignon
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Issue 18 November 2019

Letter from the Editor –Lindsay Preston Zappas
The Briar and the Tar Nayland Blake at the ICA LA
and Matthew Marks Gallery
–Travis Diehl
Putting Aesthetics
to Hope
Tracking Photography’s Role
in Feminist Communities
– Catherine Wagley
Instagram STARtists
and Bad Painting
– Anna Elise Johnson
Interview with Jamillah James – Lindsay Preston Zappas
Working Artists Featuring Catherine Fairbanks,
Paul Pescador, and Rachel Mason
Text: Lindsay Preston Zappas
Photos: Jeff McLane
Reviews Children of the Sun
– Jessica Simmons

Derek Paul Jack Boyle
–Aaron Horst

Karl Holmqvist
at House of Gaga, Los Angeles
–Lee Purvey

Katja Seib
at Château Shatto
–Ashton Cooper

Jeanette Mundt
at Overduin & Co.
–Matt Stromberg
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Issue 17 August 2019

Letter From the Editor Lindsay Preston Zappas
Green Chip David Hammons
at Hauser & Wirth
–Travis Diehl
Whatever Gets You
Through the Night
The Artists of Dilexi
and Wartime Trauma
–Jonathan Griffin
Generous Collectors How the Grinsteins
Supported Artists
–Catherine Wagley
Interview with
Donna Huanca
–Lindsy Preston Zappas
Working Artist Featuring Ragen Moss, Justen LeRoy,
and Bari Ziperstein
Text: Lindsay Preston Zappas
Photos: Jeff McLane
Reviews Sarah Lucas
at the Hammer Museum
–Yxta Maya Murray

George Herms and Terence Koh
at Morán Morán
–Matt Stromberg

Hannah Hur
at Bel Ami
–Michael Wright

Sebastian Hernandez
–Julie Weitz

(L.A. in N.Y.)
Alex Israel
at Greene Naftali
–Rosa Tyhurst

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Issue 16 May 2019

Trulee Hall's Untamed Magic Catherine Wagley
Ingredients for a Braver Art Scene Ceci Moss
I Shit on Your Graves Travis Diehl
Interview with Ruby Neri Jonathan Griffin
Carolee Schneemann and the Art of Saying Yes! Chelsea Beck
Exquisite L.A. Claressinka Anderson
Joe Pugliese
Reviews Ry Rocklen
at Honor Fraser
–Cat Kron

Rob Thom
at M+B
–Lindsay Preston Zappas

Soul of a Nation: Art in the Age
of Black Power, 1963-1983
at The Broad
–Matt Stromberg

Anna Sew Hoy & Diedrick Brackens
at Various Small Fires
–Aaron Horst

Julia Haft-Candell & Suzan Frecon
at Parrasch Heijnen
–Jessica Simmons

(L.A. in N.Y.)
Shahryar Nashat
at Swiss Institute
–Christie Hayden
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Issue 15 February 2019

Letter From the Editor Lindsay Preston Zappas
Letter to the Editor
Men on Women
Geena Brown
Eyes Without a Voice
Julian Rosefeldt's Manifesto
Christina Catherine Martinez
Seven Minute Dream Machine
Jordan Wolfson's (Female figure)
Travis Diehl
Laughing in Private
Vanessa Place's Rape Jokes
Catherine Wagley
Interview with
Rosha Yaghmai
Laura Brown
Exquisite L.A.
Featuring: Patrick Martinez,
Ramiro Gomez, and John Valadez
Claressinka Anderson
Joe Pugliese
Reviews Outliers and American
Vanguard Art at LACMA
–Jonathan Griffin

Sperm Cult
–Matt Stromberg

Kahlil Joseph
–Jessica Simmons

Ingrid Luche
at Ghebaly Gallery
–Lindsay Preston Zappas

Matt Paweski
at Park View / Paul Soto
–John Zane Zappas

Trenton Doyle Hancock
at Shulamit Nazarian
–Colony Little

(L.A. in N.Y.)
Catherine Opie
at Lehmann Maupin
–Angella d'Avignon
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Issue 14 November 2018

Letter From the Editor Lindsay Preston Zappas
Celeste Dupuy-Spencer and Figurative Religion Catherine Wagley
Lynch in Traffic Travis Diehl
The Remixed Symbology of Nina Chanel Abney Lindsay Preston Zappas
Interview with Kulapat Yantrasast Christie Hayden
Exquisite L.A.
Featuring: Sandra de la Loza, Gloria Galvez, and Steve Wong
Claressinka Anderson
Photos: Joe Pugliese
Reviews Raúl de Nieves
at Freedman Fitzpatrick
-Aaron Horst

Gertrud Parker
at Parker Gallery
-Ashton Cooper

Robert Yarber
at Nicodim Gallery
-Jonathan Griffin

Nikita Gale
at Commonwealth & Council
-Simone Krug

Lari Pittman
at Regen Projects
-Matt Stromberg

(L.A. in N.Y.)
Eckhaus Latta
at the Whitney Museum
of American Art
-Angella d'Avignon
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Issue 13 August 2018

Letter From the Editor Lindsay Preston Zappas
Letter to the Editor Julie Weitz with Angella d'Avignon
Don't Make
Everything Boring
Catherine Wagley
The Collaborative Art
World of Norm Laich
Matt Stromberg
Oddly Satisfying Art Travis Diehl
Made in L.A. 2018 Reviews Claire de Dobay Rifelj
Jennifer Remenchik
Aaron Horst
Exquisite L.A.
Featuring: Anna Sew Hoy, Guadalupe Rosales, and Shizu Saldamando
Claressinka Anderson
Photos: Joe Pugliese
Reviews It's Snowing in LA
at AA|LA
–Matthew Lax

Fiona Conner
at the MAK Center
–Thomas Duncan

Show 2
at The Gallery @ Michael's
–Simone Krug

Deborah Roberts
at Luis De Jesus Los Angeles
–Ikechukwu Casmir Onyewuenyi

Mimi Lauter
at Blum & Poe
–Jessica Simmons

(L.A. in N.Y.)
Math Bass
at Mary Boone
–Ashton Cooper

(L.A. in N.Y.)
Condo New York
–Laura Brown
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Issue 12 May 2018

Poetic Energies and
Radical Celebrations:
Senga Nengudi and Maren Hassinger
Simone Krug
Interior States of the Art Travis Diehl
Perennial Bloom:
Florals in Feminism
and Across L.A.
Angella d'Avignon
The Mess We're In Catherine Wagley
Interview with Christina Quarles Ashton Cooper
Object Project
Featuring Suné Woods, Michelle Dizon,
and Yong Soon Min
Lindsay Preston Zappas
Photos: Jeff McLane
Reviews Meleko Mokgosi
at The Fowler Museum at UCLA
-Jessica Simmons

Chris Kraus
at Chateau Shatto
- Aaron Horst

Ben Sanders
at Ochi Projects
- Matt Stromberg

iris yirei hsu
at the Women's Center
for Creative Work
- Hana Cohn

Harald Szeemann
at the Getty Research Institute
- Olivian Cha

Ali Prosch
at Bed and Breakfast
- Jennifer Remenchik

Reena Spaulings
at Matthew Marks
- Thomas Duncan
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Issue 11 February 2018

Letter from the Editor Lindsay Preston Zappas
Museum as Selfie Station Matt Stromberg
Accessible as Humanly as Possible Catherine Wagley
On Laura Owens on Laura Owens Travis Diehl
Interview with Puppies Puppies Jonathan Griffin
Object Project Lindsay Preston Zappas, Jeff McLane
Reviews Dulce Dientes
at Rainbow in Spanish
- Aaron Horst

Adrián Villas Rojas
at The Geffen Contemporary at MOCA
- Lindsay Preston Zappas

Nevine Mahmoud
at M+B
- Angella D'Avignon

Radical Women: Latin American Art, 1960- 1985
at the Hammer Museum
- Thomas Duncan

Hannah Greely and William T. Wiley
at Parker Gallery
- Keith J. Varadi

David Hockney
at The Metropolitan Museum of Art (L.A. in N.Y.)
- Ashton Cooper

Edgar Arceneaux
at Yerba Buena Center for the Arts (L.A. in S.F.)
- Hana Cohn
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Issue 10 November 2017

Letter from the Editor Lindsay Preston Zappas
Barely Living with Art:
The Labor of Domestic
Spaces in Los Angeles
Eli Diner
She Wanted Adventure:
Dwan, Butler, Mizuno, Copley
Catherine Wagley
The Languages of
All-Women Exhibitions
Lindsay Preston Zappas
L.A. Povera Travis Diehl
On Eclipses:
When Language
and Photography Fail
Jessica Simmons
Interview with
Hamza Walker
Julie Wietz
Object Project
Featuring: Rosha Yaghmai,
Dianna Molzan, and Patrick Jackson
Lindsay Preston Zappas
Photos by Jeff McLane
Pacific Standard Time: LA/LA
Regen Projects
Ibid Gallery
One National Gay & Lesbian Archives and MOCA PDC
The Mistake Room
Luis De Jesus Gallery
the University Art Gallery at CSULB
the Autry Museum
Reviews Cheyenne Julien
at Smart Objects

Paul Mpagi Sepuya
at team bungalow

Ravi Jackson
at Richard Telles

Tactility of Line
at Elevator Mondays

Trigger: Gender as a Tool as a Weapon
at the New Museum
(L.A. in N.Y.)
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Issue 9 August 2017

Letter from the Editor Lindsay Preston Zappas
Women on the Plinth Catherine Wagley
Us & Them, Now & Then:
Reconstituting Group Material
Travis Diehl
The Offerings of EJ Hill
Ikechukwu Casmir Onyewuenyi
Interview with Jenni Sorkin Carmen Winant
Object Project
Featuring: Rebecca Morris,
Linda Stark, Alex Olson
Lindsay Preston Zappas
Photos by Jeff McClane
Reviews Mark Bradford
at the Venice Biennale

Broken Language
at Shulamit Nazarian

Artists of Color
at the Underground Museum

Anthony Lepore & Michael Henry Hayden
at Del Vaz Projects


Analia Saban at
Sprueth Magers
Letter to the Editor Lady Parts, Lady Arts
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Issue 8 May 2017

Letter from the Editor Lindsay Preston Zappas
Kanye Westworld Travis Diehl
@richardhawkins01 Thomas Duncan
Support Structures:
Alice Könitz and LAMOA
Catherine Wagley
Interview with
Penny Slinger
Eliza Swann
Exquisite L.A.
taisha paggett
Ashley Hunt
Young Chung
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Reviews Alessandro Pessoli
at Marc Foxx

Jennie Jieun Lee
at The Pit

Trisha Baga
at 356 Mission

Jimmie Durham
at The Hammer

Parallel City
at Ms. Barbers

Jason Rhodes
at Hauser & Wirth
Letter to the Editor
Buy the Issue In Our Online Shop

Issue 7 February 2017

Letter from the Editor Lindsay Preston Zappas
Catherine Wagley
Put on a Happy Face:
On Dynasty Handbag
Travis Diehl
The Limits of Animality:
Simone Forti at ISCP
(L.A. in N.Y.)
Ikechukwu Casmir Onyewuenyi
More Wound Than Ruin:
Evaluating the
"Human Condition"
Jessica Simmons
Exquisite L.A.
Brenna Youngblood
Todd Gray
Rafa Esparza
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Reviews Creature
at The Broad

Sam Pulitzer & Peter Wachtler
at House of Gaga // Reena Spaulings Fine Art

Karl Haendel
at Susanne Vielmetter

Wolfgang Tillmans
at Regen Projects

at Chateau Shatto

The Rat Bastard Protective Association
at the Landing
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Issue 6 November 2016

Letter from the Editor Lindsay Preston Zappas
Kenneth Tam
's Basement
Travis Diehl
The Female
Cool School
Catherine Wagley
The Rise
of the L.A.
Art Witch
Amanda Yates Garcia
Interview with
Mernet Larsen
Julie Weitz
Agnes Martin
Jessica Simmons
Exquisite L.A.
Analia Saban
Ry Rocklen
Sarah Cain
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Made in L.A. 2016
at The Hammer Museum

Doug Aitken
at The Geffen Contemporary at MOCA

at Tif Sigfrids

Jean-Pascal Flavian and Mika Tajima
at Kayne Griffin Corcoran

Mark A. Rodruigez
at Park View

The Weeping Line
Organized by Alter Space
at Four Six One Nine
(S.F. in L.A.)
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Issue 5 August 2016

Letter form the Editor Lindsay Preston Zappas
at The Underground Museum
Catherine Wagley
The Art of Birth Carmen Winant
Escape from Bunker Hill
John Knight
Travis Diehl
Ed Boreal Speaks Benjamin Lord
Art Advice (from Men) Sarah Weber
Routine Pleasures
at the MAK Center
Jonathan Griffin
Exquisite L.A.
Fay Ray
John Baldessari
Claire Kennedy
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Reviews Revolution in the Making
at Hauser Wirth & Schimmel

Carl Cheng
at Cherry and Martin

Joan Snyder
at Parrasch Heijnen Gallery

Elanor Antin
at Diane Rosenstein

Performing the Grid
at Ben Maltz Gallery
at Otis College of Art & Design

Laura Owens
at The Wattis Institute
(L.A. in S.F.)
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Issue 4 May 2016

Letter from the Editor Lindsay Preston Zappas
Moon, laub, and Love Catherine Wagley
Walk Artisanal Jonathan Griffin
Marva Marrow's
Inside the L.A. Artist
Anthony Pearson
Mystery Science Thater:
Diana Thater
Aaron Horst
Informal Feminisms Federica Bueti and Jan Verwoert
Marva Marrow Photographs
Lita Albuquerque
Interiors and Interiority:
Njideka Akunyili Crosby
Char Jansen
Reviews L.A. Art Fairs

Material Art Fair, Mexico City

Rain Room

Evan Holloway
at David Kordansky Gallery

Histories of a Vanishing Present: A Prologue
at The Mistake Room

Carter Mull
at fused space
(L.A. in S.F.)

Awol Erizku
at FLAG Art Foundation
(L.A. in N.Y.)
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Issue 3 February 2016

Letter from the Editor Lindsay Preston Zappas
Le Louvre, Las Vegas Evan Moffitt
iPhones, Flesh,
and the Word:
at Arturo Bandini
Lindsay Preston Zappas
Women Talking About Barney Catherine Wagley
Lingua Ignota:
Faith Wilding
at The Armory Center
for the Arts
Benjamin Lord
A Conversation
with Amalia Ulman
Char Jansen
How We Practice Carmen Winant
Share Your Piece
of the Puzzle
Federica Bueti
Amanda Ross-Ho Photographs
Erik Frydenborg
Reviews Honeydew
at Michael Thibault

Fred Tomaselli
at California State University, Fullerton

Trisha Donnelly
at Matthew Marks Gallery

Bradford Kessler
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Issue 2 November 2015

Letter from the Editor Lindsay Preston Zappas
Hot Tears Carmen Winant
Slow View:
Molly Larkey
Anna Breininger and Kate Whitlock
Americanicity's Paintings:
Orion Martin
at Favorite Goods
Tracy Jeanne Rosenthal
Layers of Leimert Park Catherine Wagley
Junkspace Junk Food:
Parker Ito
at Kaldi, Smart Objects,
White Cube, and
Château Shatto
Evan Moffitt
Melrose Hustle Keith Vaughn
Max Maslansky Photographs
Monica Majoli
at the Tom of Finland Foundation
White Lee, Black Lee:
William Pope.L’s "Reenactor"
Travis Diehl
Dora Budor Interview Char Jensen
Reviews Mary Ried Kelley
at The Hammer Museum

Tongues Untied
at MOCA Pacific Design Center

No Joke
at Tanya Leighton
(L.A. in Berlin)
Snap Reviews Martin Basher at Anat Ebgi
Body Parts I-V at ASHES ASHES
Eve Fowler at Mier Gallery
Matt Siegle at Park View
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Issue 1 August 2015

Letter from the Editor Lindsay Preston Zappas
Metaphysical L.A.
Travis Diehl
Art for Art’s Sake:
L.A. in the 1990s
Anthony Pearson
A Dialogue in Two
Synchronous Atmospheres
Erik Morse
with Alexandra Grant
at François Ghebaly
Jonathan Griffin
#studio #visit
with #devin #kenny
Mateo Tannatt
Jibade-Khalil Huffman
Slow View:
Discussion on One Work
Anna Breininger
with Julian Rogers
Reviews Pierre Huyghe

Mernet Larsen
at Various Small Fires

John Currin
at Gagosian, Beverly Hills

Pat O'Niell
at Cherry and Martin

A New Rhythm
at Park View

Unwatchable Scenes and
Other Unreliable Images...
at Public Fiction

Charles Gaines
at The Hammer Museum

Henry Taylor
at Blum & Poe/ Untitled
(L.A. in N.Y.)
Buy the Issue In Our Online Shop
1301 PE
Anat Ebgi (La Cienega)
Anat Ebgi (Wilshire)
Arcana Books
Artbook @ Hauser & Wirth
Babst Gallery
Baert Gallery
Bel Ami
Canary Test
Carlye Packer
Charlie James Gallery
Château Shatto
Chris Sharp Gallery
Cirrus Gallery
Clay ca
Commonwealth & Council
Craft Contemporary
D2 Art (Inglewood)
D2 Art (Westwood)
David Kordansky Gallery
David Zwirner
Diane Rosenstein
François Ghebaly
Gana Art Los Angeles
George Billis Gallery
Giovanni's Room
Hamzianpour & Kia
Hannah Hoffman Gallery
Harper's Gallery
Hashimoto Contemporary
Heavy Manners Library
Helen J Gallery
Human Resources
Hunter Shaw Fine Art
in lieu
LaPau Gallery
Lisson Gallery
Lowell Ryan Projects
Luis De Jesus Los Angeles
MAK Center for Art and Architecture
Make Room Los Angeles
Matter Studio Gallery
Matthew Brown Los Angeles
MOCA Grand Avenue
Monte Vista Projects
Morán Morán
Moskowitz Bayse
Nazarian / Curcio
Night Gallery
Nino Mier Gallery
NOON Projects
O-Town House
One Trick Pony
Paradise Framing
Park View / Paul Soto
Patricia Sweetow Gallery
Regen Projects
Reparations Club
r d f a
REDCAT (Roy and Edna Disney CalArts Theater)
Roberts Projects
Royale Projects
Sean Kelly
Sebastian Gladstone
Shoshana Wayne Gallery
Smart Objects
Steve Turner
Stroll Garden
Tanya Bonakdar Gallery
The Box
The Fulcrum
The Hole
The Landing
The Poetic Research Bureau
The Wende Museum
Thinkspace Projects
Tierra del Sol Gallery
Tiger Strikes Astroid
Tomorrow Today
Track 16
Tyler Park Presents
USC Fisher Museum of Art
UTA Artist Space
Various Small Fires
Village Well Books & Coffee
Outside L.A.
Libraries/ Collections
Baltimore Museum of Art (Baltimore, MD)
Bard College, CCS Library (Annandale-on-Hudson, NY)
Charlotte Street Foundation (Kansas City, MO)
Cranbrook Academy of Art (Bloomfield Hills, MI)
Getty Research Institute (Los Angeles, CA)
Los Angeles Contemporary Archive (Los Angeles, CA)
Los Angeles County Museum of Art (Los Angeles, CA)
Maryland Institute College of Art (Baltimore, MD)
Midway Contemporary Art (Minneapolis, MN)
Museum of Contemporary Art (Los Angeles, CA)
NYS College of Ceramics at Alfred University (Alfred, NY)
Pepperdine University (Malibu, CA)
San Francisco Museum of Modern Art (San Francisco, CA)
School of the Art Institute of Chicago (Chicago, IL)
The Metropolitan Museum of Art (New York, NY)
University of California Irvine, Langston IMCA (Irvine, CA)
University of Pennsylvania (Philadelphia, PA)
Walker Art Center (Minneapolis, MN)
Whitney Museum of American Art (New York, NY)
Yale University Library (New Haven, CT)

Support Structures

Sharp Elbows (2015) (installation view). Image courtesy of Los Angeles Museum of Art.

After dark on the second Saturday of April, a small crowd on Occidental College’s dimly-lit campus sat waiting for something to happen. Many of them knew each other—it had the ease of a friendly gathering. The group faced a 14-foot wide structure that could have passed for a tasteful shed. In fact, it was the Los Angeles Museum of Art (LAMOA), an exhibition structure with removable walls, built by artist Alice Könitz in 2012. At quarter past 8 p.m., artist Isabell Spengler and her collaborator, Priyanka Ram, emerged from behind the structure, both of them wearing handmade headdresses. Footage shot by Spengler played out across the museum’s facade, showing a forest and a starlet (named Starlight, according to the press release) in a blue sleep mask, while Spengler and Ram provided a live soundtrack of electronic music and reverberating words whispered into microphones.

Inside, Spengler had divided LAMOA into two chambers, one light and one dark. Each held a vanity, a set of bejeweled slippers and a pack of “Hollywood” gum. A two-way mirror separated them. This snug world had the precision of a well-planned stage set, in contrast the loosely formed performance happening outside.

This is the second to last LAMOA show on Occidental’s campus. After artist Neha Choski exhibits in May, Könitz will dismantle the museum as she decides where, if anywhere, it should live next. When it does go into hibernation this summer, what we’ll be missing is the quiet, constant reminder it’s been for the past five years: that an art object can be inherently generous, built and maintained to support the practices of others.

LAMOA officially opened in December 2012, in the paved lot outside of Könitz’s former Eagle Rock studio. Eight months prior, Könitz launched a fundraising campaign on, proposing a 9 x 14 foot space with removable walls, four skylights, solar panels, and bricks to elevate and protect it from potential rain. Artists would be “invited to present their work in a way that best suits them.”

LAMOA arrived at a moment when art museums in Los Angeles were under intense scrutiny. LACMA had just invested in Michael Heizer’s Levitated Mass, a $10 million dollar monument centered around a big boulder, reaffirming its interest in the monolithically impressive (and inviting criticism of its use of resources). Chief curator Paul Schimmel had just left MOCA, and all the artist board members resigned in protest, thus—temporarily—ending the institution’s run as an “artists museum,” a title it acquired at its 1979 founding. In his thorough Artforum tribute to the Museum of Public Fiction (the now nomadic project Lauren Mackler started in Highland Park in 2010), Michael Ned Holte mentioned both LAMOA and the Underground Museum as “fellow micro institutions” that rose up during MOCA’s period of apparent chaos, unhindered by “administrative bureaucracies and status-conscious boards.” They are “far more nimble” than typical museums. 1 “It’s not an answer to the problems that our big museums have, but it is an alternative,” Könitz told writer Travis Diehl in April 2013. 2

The early LAMOA exhibitions on the lot outside Könitz’s studio tended to be modular, responding to and even mirroring the museum’s architecture. This gave the shows noticeable visual resonance with Könitz’s own studio work: rough edged, often-functional objects that riffed lightly on mid-century design. Katie Grinnan’s F.Y.I. (2013), a neon green metal infrastructure that vaguely resembled a jungle gym, held files Grinnan compiled with help of friends and family. Visitors could sit on purple exercise machine seats and read info organized by topic (“Bugs,” “Catasterism”). Shortly after, Sonia Leimer installed a series of metal tables, each smaller than the next, with intentionally dry collages of dollar bills or vintage buildings placed under glass surfaces. At the show’s end, Leimer and Könitz jumped through the breakaway glass they’d installed along LAMOA’s easternmost wall.

Events at the museum felt insular—this was a project for a community—but not pretentious. Openings could be like tailgates. Könitz also still posts all the press releases on a WordPress blog where fonts change according to projects and functionality trumps polish.

Paul Gellman, The Real Art Hangers of Cheviot Hills (2016). Image courtesy of Los Angeles Museum of Art. Photo: Rainer Komers.

Sometimes when artists open spaces, they necessarily hone their personas to best promote their projects. Or, as with Maurizio Cattelan and his satirically miniature Wrong Gallery, the space becomes an extension of an artist’s persona. In Könitz’s case, her personal practice has become difficult to distinguish from LAMOA, as the museum itself is her work. When she participated in the Hammer Museum’s Made in L.A. biennial in 2014, LAMOA was listed in the program, not Könitz; she served as the museum proprietor. The $100,000 Mohn Award, given to one artist in the biennial, went to the museum, according to the jury’s statement, which referred to Könitz as its creator, though the award also included the publication of a monograph chronicling her work since 1993.

Her 2016 solo exhibition at Commonwealth & Council in Koreatown—which she called Commonwealth, conflating her show with the space hosting it—did not include the museum but instead consisted of what she called “social, site-specific sculptures.” The night of the opening, a concierge manned the modular, geometric, Mondrian-colored kiosk in the main gallery, handing out snacks through perfectly round holes. In the gallery’s office, Könitz left behind DS [Display System] #3 (2016), an attractive steel and glass display case that held colorful and clownish figurines by artist Paul Gellman (aka Tall Paul).

By this point, LAMOA had temporarily inhabited three different institutions. After its time at the Hammer in 2014, where it appeared more stationary and object-like than it did elsewhere, it moved to the Armory Center for the Arts. It lived inside the galleries there for six months, as part of an exhibition called The Fifth Wall, a show inside a show with its own “independent programming” (Olivia Booth hung glass cylinders from rods; Tobjorn Vejvi’s sculpted busts became the set for a sound performance). At the start of 2015, LAMOA returned to a different lot in Eagle Rock—Könitz had left her former studio—and, in September 2015, it moved to the lawn outside the library at Occidental College (“award-winning work,” the college’s PR department called it in a public announcement).

Sitting outside on campus grass, it felt more like public art, incidental and not precious. In summer 2016, it hosted a performance by Paul Gellman based on his satirical memoir/script, The Real Art Hangers of Cheviot Hills. Ruby Neri built the accompanying installation, which mostly consisted of loosely painted Hellenic figures (chiseled nudes, angels). As part of Scott Cassidy’s installation of an inverted “white house” suspended from LAMOA’s roof, the museum hosted a comedy night. It wasn’t obvious how stand-up related to the show, except that Cassidy’s work is funny and his white house included little holes through which you could see dioramas: a bureaucratic machine built of cardboard boxes that said “no one cares.” Comedy night happened in Occidental’s amphitheater, and Cassidy’s wife, Maria Bamford of Netflix’ Lady Dynamite, headlined. Her semi-celebrity presence barely altered LAMOA’s small-scale, relaxed mood. Fans of the museum and friends of the performers attended; a few college students wandered in.

Since Könitz built LAMOA, the art world in Los Angeles has expanded to include four more collector-run museums and a growing number of transplanted blue-chip galleries from the East Coast and Europe. MOCA’s new regime hasn’t actually been as inclusive or rigorous as we’d dreamed—fashion designer Rick Owens; market-established Doug Aitken; Carl Andre; and two shows of work by reenlisted board member, Cathy Opie. Alt spaces aren’t immune to the angling that growth invites. When Arturo Bandini started hosting shows in a Highland Park back lot, the setting had physical similarities to LAMOA’s early exhibitions: visitors found themselves behind a studio complex, looking at art in a shed shaped construction. But within a year, Arturo Bandini was hosting a pseudo art fair of their own, facilitating market dynamics if from a satirical or alt position.

That LAMOA and its peers (the Museum of Public Fiction in particular) predated and perhaps anticipated this newest shift toward professionalism in our local scene makes their contributions more precious. The need for other platforms grows in proportion to the homogeneity that upward mobility invites. Certainly other alt and artist run spaces have contributed to a generous ethos in recent years (Chin’s Push comes to mind), but LAMOA was in itself built to make supporting each other structurally feasible.

In a 2014 interview, Könitz cited two artist-made museums as influences: Marcel Broodthaer’s Musee d’Art de Modern, an itinerant archive that fluctuated according to the artist’s whims; and Claes Oldenburg’s Mouse Museum, a Mickey-shaped structure that mostly held his own work. 3 Both were experiments in taking on and reshaping power of the institution; neither relied that much on others. Broodthaers, for instance, played artist, curator, and director. LAMOA too has self-appointed authority and the agility to blur boundaries, but it wouldn’t have been nearly as interesting had it not morphed in response to many artists’ visions.

The project, always limited by its founder’s network, may not be an answer, as Könitz said four years ago, to the problems and exclusivities of our institutions. But if enough artists become infrastructure for the art worlds they believe in, such problems may become besides the point.

This essay was originally published in Carla issue 8.

Los Angeles Museum of Art (2017) (installation view). Image courtesy of the Hammer Museum, Los Angeles. Photo: Brian Forrest.

Kelly Coats and Kathleen Kim, Get Back (2014). Musical performance, Los Angeles Museum of Art at The Armory Center for the Arts. Image courtesy of the Armory Center for the Arts.

Los Angeles Museum of Art (2017) (installation view). Image courtesy of the Hammer Museum, Los Angeles. Photo: Brian Forrest.

Gabrielle Jennings, Start by Discarding (2016) (installation view). Los Angeles Museum of Art at Occidental College. Image courtesy of the artist. Photo: Rachel Bank.

Ruby Neri, The Villa of Mysteries, Paul Gellman, The Real Art Hangers of Cheviot Hills (2016). Image courtesy of Los Angeles Museum of Art. Photo: Rainer Komers.

Andreas Fogarasi, Book Launch, (2017). Photo: Sean Deckert.

  1. Michael Ned Holte, “Systems of Belief,” Artforum, February 2016.
  2. As Told to Travis Diehl, “Alice Könitz talks about the Los Angeles Museum of Art,”, February 2, 2013,
  3. “Alice Könitz on micro museums and the Los Angeles Museum of Art,” L.A. Forum, Delirious L.A., 2014,