Los Angeles
Yifan Jiang and James J.A. Mercer
Vacation, 2022
animated video, 25:10 minutes
Carlos Agredano
EPA Air Quality Flag Program (David Kordansky Gallery, 5130 W Edgewood Pl, Los Angeles, CA 90019), 2025
nylon pennant flags
18 7/8 x 29 5/8 x 2 1/8 inches
(47.9 x 75.2 x 5.4 cm)
Carlos Agredano
EPA Air Quality Flag Program (David Kordansky Gallery, 5130 W Edgewood Pl, Los Angeles, CA 90019), 2025
nylon pennant flags
18 7/8 x 29 5/8 x 2 1/8 inches
(47.9 x 75.2 x 5.4 cm)
Carlos Agredano
EPA Air Quality Flag Program (David Kordansky Gallery, 5130 W Edgewood Pl, Los Angeles, CA 90019), 2025
nylon pennant flags
18 7/8 x 29 5/8 x 2 1/8 inches
(47.9 x 75.2 x 5.4 cm)
Carlos Agredano
EPA Air Quality Flag Program (David Kordansky Gallery, 5130 W Edgewood Pl, Los Angeles, CA 90019), 2025
nylon pennant flags
18 7/8 x 29 5/8 x 2 1/8 inches
(47.9 x 75.2 x 5.4 cm)
Shara Hughes
Verge, 2024
oil and acrylic on canvas
48 1/8 x 40 1/8 x 1 5/8 inches
(122.2 x 101.9 x 4.1 cm)
Shara Hughes
Verge, 2024
oil and acrylic on canvas
48 1/8 x 40 1/8 x 1 5/8 inches
(122.2 x 101.9 x 4.1 cm)
Shara Hughes
Verge, 2024
oil and acrylic on canvas
48 1/8 x 40 1/8 x 1 5/8 inches
(122.2 x 101.9 x 4.1 cm)
Shara Hughes
Verge, 2024
oil and acrylic on canvas
48 1/8 x 40 1/8 x 1 5/8 inches
(122.2 x 101.9 x 4.1 cm)
Rose Salane
Brazilwood, 2025
C-print
20 x 25 inches
(50.8 x 63.5 cm)
framed:
20 5/8 x 25 5/8 x 1 1/2 inches
(52.4 x 65.1 x 3.8 cm)
Edition of 3, with 2 AP
Rose Salane
Brazilwood, 2025
C-print
20 x 25 inches
(50.8 x 63.5 cm)
framed:
20 5/8 x 25 5/8 x 1 1/2 inches
(52.4 x 65.1 x 3.8 cm)
Edition of 3, with 2 AP
Rose Salane
Brazilwood, 2025
C-print
20 x 25 inches
(50.8 x 63.5 cm)
framed:
20 5/8 x 25 5/8 x 1 1/2 inches
(52.4 x 65.1 x 3.8 cm)
Edition of 3, with 2 AP
Rose Salane
Brazilwood, 2025
C-print
20 x 25 inches
(50.8 x 63.5 cm)
framed:
20 5/8 x 25 5/8 x 1 1/2 inches
(52.4 x 65.1 x 3.8 cm)
Edition of 3, with 2 AP
Rose Salane
Pink Earth: Japan, 2025
C-print
20 x 25 inches
(50.8 x 63.5 cm)
framed:
20 5/8 x 25 5/8 x 1 1/2 inches
(52.4 x 65.1 x 3.8 cm)
Edition of 3, with 2 AP
Rose Salane
Pink Earth: Japan, 2025
C-print
20 x 25 inches
(50.8 x 63.5 cm)
framed:
20 5/8 x 25 5/8 x 1 1/2 inches
(52.4 x 65.1 x 3.8 cm)
Edition of 3, with 2 AP
Rose Salane
Pink Earth: Japan, 2025
C-print
20 x 25 inches
(50.8 x 63.5 cm)
framed:
20 5/8 x 25 5/8 x 1 1/2 inches
(52.4 x 65.1 x 3.8 cm)
Edition of 3, with 2 AP
Rose Salane
Pink Earth: Japan, 2025
C-print
20 x 25 inches
(50.8 x 63.5 cm)
framed:
20 5/8 x 25 5/8 x 1 1/2 inches
(52.4 x 65.1 x 3.8 cm)
Edition of 3, with 2 AP
Rose Salane
Cochineal, 2025
C-print
20 x 25 inches
(50.8 x 63.5 cm)
framed:
20 5/8 x 25 5/8 x 1 1/2 inches
(52.4 x 65.1 x 3.8 cm)
Edition of 3, with 2 AP
Rose Salane
Cochineal, 2025
C-print
20 x 25 inches
(50.8 x 63.5 cm)
framed:
20 5/8 x 25 5/8 x 1 1/2 inches
(52.4 x 65.1 x 3.8 cm)
Edition of 3, with 2 AP
Rose Salane
Cochineal, 2025
C-print
20 x 25 inches
(50.8 x 63.5 cm)
framed:
20 5/8 x 25 5/8 x 1 1/2 inches
(52.4 x 65.1 x 3.8 cm)
Edition of 3, with 2 AP
Rose Salane
Cochineal, 2025
C-print
20 x 25 inches
(50.8 x 63.5 cm)
framed:
20 5/8 x 25 5/8 x 1 1/2 inches
(52.4 x 65.1 x 3.8 cm)
Edition of 3, with 2 AP
Rose Salane
Cinnabar, 2025
C-print
20 x 25 inches
(50.8 x 63.5 cm)
framed:
20 5/8 x 25 5/8 x 1 1/2 inches
(52.4 x 65.1 x 3.8 cm)
Edition of 3, with 2 AP
Rose Salane
Cinnabar, 2025
C-print
20 x 25 inches
(50.8 x 63.5 cm)
framed:
20 5/8 x 25 5/8 x 1 1/2 inches
(52.4 x 65.1 x 3.8 cm)
Edition of 3, with 2 AP
Rose Salane
Cinnabar, 2025
C-print
20 x 25 inches
(50.8 x 63.5 cm)
framed:
20 5/8 x 25 5/8 x 1 1/2 inches
(52.4 x 65.1 x 3.8 cm)
Edition of 3, with 2 AP
Rose Salane
Cinnabar, 2025
C-print
20 x 25 inches
(50.8 x 63.5 cm)
framed:
20 5/8 x 25 5/8 x 1 1/2 inches
(52.4 x 65.1 x 3.8 cm)
Edition of 3, with 2 AP
Rose Salane
Earth: Near Mount Parnassus, Greece, 2025
C-print
20 x 25 inches
(50.8 x 63.5 cm)
framed:
20 5/8 x 25 5/8 x 1 1/2 inches
(52.4 x 65.1 x 3.8 cm)
Edition of 3, with 2 AP
Rose Salane
Earth: Near Mount Parnassus, Greece, 2025
C-print
20 x 25 inches
(50.8 x 63.5 cm)
framed:
20 5/8 x 25 5/8 x 1 1/2 inches
(52.4 x 65.1 x 3.8 cm)
Edition of 3, with 2 AP
Rose Salane
Earth: Near Mount Parnassus, Greece, 2025
C-print
20 x 25 inches
(50.8 x 63.5 cm)
framed:
20 5/8 x 25 5/8 x 1 1/2 inches
(52.4 x 65.1 x 3.8 cm)
Edition of 3, with 2 AP
Rose Salane
Earth: Near Mount Parnassus, Greece, 2025
C-print
20 x 25 inches
(50.8 x 63.5 cm)
framed:
20 5/8 x 25 5/8 x 1 1/2 inches
(52.4 x 65.1 x 3.8 cm)
Edition of 3, with 2 AP
Ashley Teamer
Claiborne: The Next Millennia, 2024
inkjet prints, thread, canvas print, acrylic felt, and velcro
66 x 70 inches
(167.6 x 177.8 cm)
Ashley Teamer
Claiborne: The Next Millennia, 2024
inkjet prints, thread, canvas print, acrylic felt, and velcro
66 x 70 inches
(167.6 x 177.8 cm)
Ashley Teamer
Claiborne: The Next Millennia, 2024
inkjet prints, thread, canvas print, acrylic felt, and velcro
66 x 70 inches
(167.6 x 177.8 cm)
Ashley Teamer
Claiborne: The Next Millennia, 2024
inkjet prints, thread, canvas print, acrylic felt, and velcro
66 x 70 inches
(167.6 x 177.8 cm)
Josh Kline
Industrial Revolutions Pregame (Iran), 2024
thermal dye diffusion transfer print on lycra, urethane resin, acrylic paint, epoxy putty, stainless steel, UV varnish, plastic accessories, polystyrene, aluminum, aircraft cable, and metal hardware
17 1/2 x 7 1/4 x 21 1/2 inches
(44.5 x 18.4 x 54.6 cm)
Edition of 3
Josh Kline
Industrial Revolutions Pregame (Iran), 2024
thermal dye diffusion transfer print on lycra, urethane resin, acrylic paint, epoxy putty, stainless steel, UV varnish, plastic accessories, polystyrene, aluminum, aircraft cable, and metal hardware
17 1/2 x 7 1/4 x 21 1/2 inches
(44.5 x 18.4 x 54.6 cm)
Edition of 3
Josh Kline
Industrial Revolutions Pregame (Iran), 2024
thermal dye diffusion transfer print on lycra, urethane resin, acrylic paint, epoxy putty, stainless steel, UV varnish, plastic accessories, polystyrene, aluminum, aircraft cable, and metal hardware
143 x 17 1/4 x 10 1/2 inches
(363.2 x 43.8 x 26.7 cm)
Edition of 3
Josh Kline
Industrial Revolutions Pregame (Iran), 2024
thermal dye diffusion transfer print on lycra, urethane resin, acrylic paint, epoxy putty, stainless steel, UV varnish, plastic accessories, polystyrene, aluminum, aircraft cable, and metal hardware
143 x 17 1/4 x 10 1/2 inches
(363.2 x 43.8 x 26.7 cm)
Edition of 3
Kahlil Robert Irving
SKYTUBE & Silver Chalice \ Concrete tears embedded jewels (take me as I am) PIPE, 2023–2024
glazed and unglazed ceramic, enamels, lusters, and digital print ceramic decals
14 x 8 x 7 3/4 inches
(35.6 x 20.3 x 19.7 cm)
Kahlil Robert Irving
SKYTUBE & Silver Chalice \ Concrete tears embedded jewels (take me as I am) PIPE, 2023–2024
glazed and unglazed ceramic, enamels, lusters, and digital print ceramic decals
14 x 8 x 7 3/4 inches
(35.6 x 20.3 x 19.7 cm)
Kahlil Robert Irving
SKYTUBE & Silver Chalice \ Concrete tears embedded jewels (take me as I am) PIPE, 2023–2024
glazed and unglazed ceramic, enamels, lusters, and digital print ceramic decals
14 x 8 x 7 3/4 inches
(35.6 x 20.3 x 19.7 cm)
Kahlil Robert Irving
SKYTUBE & Silver Chalice \ Concrete tears embedded jewels (take me as I am) PIPE, 2023–2024
glazed and unglazed ceramic, enamels, lusters, and digital print ceramic decals
14 x 8 x 7 3/4 inches
(35.6 x 20.3 x 19.7 cm)
Magali Reus
Clay (Mushrooms), 2020–2021
welded, forged, and cast powder-coated steel and aluminium, rivets, toggle fixings, and CSK sockets
82 5/8 x 96 x 2 1/2 inches
(210 x 244 x 6.5 cm)
Magali Reus
Clay (Mushrooms), 2020–2021
welded, forged, and cast powder-coated steel and aluminium, rivets, toggle fixings, and CSK sockets
82 5/8 x 96 x 2 1/2 inches
(210 x 244 x 6.5 cm)
Magali Reus
Clay (Mushrooms), 2020–2021
welded, forged, and cast powder-coated steel and aluminium, rivets, toggle fixings, and CSK sockets
82 5/8 x 96 x 2 1/2 inches
(210 x 244 x 6.5 cm)
Magali Reus
Clay (Mushrooms), 2020–2021
welded, forged, and cast powder-coated steel and aluminium, rivets, toggle fixings, and CSK sockets
82 5/8 x 96 x 2 1/2 inches
(210 x 244 x 6.5 cm)
Christopher Kulendran Thomas
ft-ckt-131f03dc-0021-st-20-cfg-7.0-seed-0965461904.png, 2025
acrylic on canvas
84 1/4 x 65 x 2 inches
(214 x 165.1 x 5.1 cm)
framed:
86 x 66 x 2 1/2 inches
(218.4 x 167.6 x 6.3 cm)
Christopher Kulendran Thomas
ft-ckt-131f03dc-0021-st-20-cfg-7.0-seed-0965461904.png, 2025
acrylic on canvas
84 1/4 x 65 x 2 inches
(214 x 165.1 x 5.1 cm)
framed:
86 x 66 x 2 1/2 inches
(218.4 x 167.6 x 6.3 cm)
Christopher Kulendran Thomas
ft-ckt-131f03dc-0021-st-20-cfg-7.0-seed-0965461904.png, 2025
acrylic on canvas
84 1/4 x 65 x 2 inches
(214 x 165.1 x 5.1 cm)
framed:
86 x 66 x 2 1/2 inches
(218.4 x 167.6 x 6.3 cm)
Christopher Kulendran Thomas
ft-ckt-131f03dc-0021-st-20-cfg-7.0-seed-0965461904.png, 2025
acrylic on canvas
84 1/4 x 65 x 2 inches
(214 x 165.1 x 5.1 cm)
framed:
86 x 66 x 2 1/2 inches
(218.4 x 167.6 x 6.3 cm)
Jeffrey Meris
Catch a Stick of Fire III, 2021
welded aluminum, ceramic, lighting element, orchids, water, light, and oxygen
installation dimensions variable,
approximate installation dimensions:
106 x 90 x 90 inches
(269.2 x 228.6 x 228.6 cm)
Jeffrey Meris
Catch a Stick of Fire III, 2021
welded aluminum, ceramic, lighting element, orchids, water, light, and oxygen
installation dimensions variable,
approximate installation dimensions:
106 x 90 x 90 inches
(269.2 x 228.6 x 228.6 cm)
Jeffrey Meris
Catch a Stick of Fire III, 2021
welded aluminum, ceramic, lighting element, orchids, water, light, and oxygen
installation dimensions variable,
approximate installation dimensions:
106 x 90 x 90 inches
(269.2 x 228.6 x 228.6 cm)
Jeffrey Meris
Catch a Stick of Fire III, 2021
welded aluminum, ceramic, lighting element, orchids, water, light, and oxygen
installation dimensions variable,
approximate installation dimensions:
106 x 90 x 90 inches
(269.2 x 228.6 x 228.6 cm)
Karol Palczak
Gnijące pomarańcze, 2025
oil on aluminum fixed to plywood
13 1/4 x 8 3/4 x 1 inches
(33.7 x 22.2 x 2.5 cm)
Karol Palczak
Gnijące pomarańcze, 2025
oil on aluminum fixed to plywood
13 1/4 x 8 3/4 x 1 inches
(33.7 x 22.2 x 2.5 cm)
Karol Palczak
Gnijące pomarańcze, 2025
oil on aluminum fixed to plywood
13 1/4 x 8 3/4 x 1 inches
(33.7 x 22.2 x 2.5 cm)
Karol Palczak
Gnijące pomarańcze, 2025
oil on aluminum fixed to plywood
13 1/4 x 8 3/4 x 1 inches
(33.7 x 22.2 x 2.5 cm)
Xin Liu
Overgrowth, 2025
silicone, bronze, aluminum, and customized cooling system
52 3/4 x 36 5/8 x 4 3/8 inches
(134 x 93 x 11.1 cm)
Xin Liu
Overgrowth, 2025
silicone, bronze, aluminum, and customized cooling system
52 3/4 x 36 5/8 x 4 3/8 inches
(134 x 93 x 11.1 cm)
Xin Liu
Overgrowth, 2025
silicone, bronze, aluminum, and customized cooling system
52 3/4 x 36 5/8 x 4 3/8 inches
(134 x 93 x 11.1 cm)
Xin Liu
Overgrowth, 2025
silicone, bronze, aluminum, and customized cooling system
52 3/4 x 36 5/8 x 4 3/8 inches
(134 x 93 x 11.1 cm)
Kaari Upson
MMDP, 2016
aluminum and stainless steel
62 1/2 x 5 1/4 x 39 inches
(158.8 x 13.3 x 99.1 cm)
Kaari Upson
MMDP, 2016
aluminum and stainless steel
62 1/2 x 5 1/4 x 39 inches
(158.8 x 13.3 x 99.1 cm)
Kaari Upson
MMDP, 2016
aluminum and stainless steel
62 1/2 x 5 1/4 x 39 inches
(158.8 x 13.3 x 99.1 cm)
Kaari Upson
MMDP, 2016
aluminum and stainless steel
62 1/2 x 5 1/4 x 39 inches
(158.8 x 13.3 x 99.1 cm)
Moka Lee
Innuendo 01 <I’m In Love With My Car>, 2025
oil on cotton
63 7/8 x 51 1/4 x 1 3/4 inches
(162.2 x 130.3 x 4.5 cm)
framed:
67 3/8 x 54 3/4 x 2 5/8 inches
(171 x 139 x 6.8 cm)
Moka Lee
Innuendo 01 <I’m In Love With My Car>, 2025
oil on cotton
63 7/8 x 51 1/4 x 1 3/4 inches
(162.2 x 130.3 x 4.5 cm)
framed:
67 3/8 x 54 3/4 x 2 5/8 inches
(171 x 139 x 6.8 cm)
Moka Lee
Innuendo 01 <I’m In Love With My Car>, 2025
oil on cotton
63 7/8 x 51 1/4 x 1 3/4 inches
(162.2 x 130.3 x 4.5 cm)
framed:
67 3/8 x 54 3/4 x 2 5/8 inches
(171 x 139 x 6.8 cm)
Moka Lee
Innuendo 01 <I’m In Love With My Car>, 2025
oil on cotton
63 7/8 x 51 1/4 x 1 3/4 inches
(162.2 x 130.3 x 4.5 cm)
framed:
67 3/8 x 54 3/4 x 2 5/8 inches
(171 x 139 x 6.8 cm)
Kahlil Robert Irving
Dreams in the line and memories (/whipped), 2021–2023
glazed and unglazed ceramic with decals and luster
1 x 100 1/4 x 55 inches
(2.5 x 254.6 x 139.7 cm)
Kahlil Robert Irving
Dreams in the line and memories (/whipped), 2021–2023
glazed and unglazed ceramic with decals and luster
1 x 100 1/4 x 55 inches
(2.5 x 254.6 x 139.7 cm)
Kahlil Robert Irving
Dreams in the line and memories (/whipped), 2021–2023
glazed and unglazed ceramic with decals and luster
1 x 100 1/4 x 55 inches
(2.5 x 254.6 x 139.7 cm)
Kahlil Robert Irving
Dreams in the line and memories (/whipped), 2021–2023
glazed and unglazed ceramic with decals and luster
1 x 100 1/4 x 55 inches
(2.5 x 254.6 x 139.7 cm)
Karol Palczak
Gnijące jabłko na szybie, 2024
oil and egg tempera on aluminum fixed to MDF board
5 x 4 x 1 inches
(12.7 x 10.2 x 2.5 cm)
Karol Palczak
Gnijące jabłko na szybie, 2024
oil and egg tempera on aluminum fixed to MDF board
5 x 4 x 1 inches
(12.7 x 10.2 x 2.5 cm)
Karol Palczak
Gnijące jabłko na szybie, 2024
oil and egg tempera on aluminum fixed to MDF board
5 1/4 x 4 3/8 x 3/4 inches
(13.3 x 11.1 x 1.9 cm)
Karol Palczak
Gnijące jabłko na szybie, 2024
oil and egg tempera on aluminum fixed to MDF board
5 1/4 x 4 3/8 x 3/4 inches
(13.3 x 11.1 x 1.9 cm)
Guan Xiao
Weather Forecast, 2016
three-channel video, color, sound
12:48 minutes
Edition of 5, with 2 AP
Guan Xiao
Weather Forecast, 2016
three-channel video, color, sound
12:48 minutes
Edition of 5, with 2 AP
Guan Xiao
Weather Forecast, 2016
three-channel video, color, sound
12:48 minutes
Edition of 5, with 2 AP
Guan Xiao
Weather Forecast, 2016
three-channel video, color, sound
12:48 minutes
Edition of 5, with 2 AP
Berenice Olmedo
Nahuel, 2025
PLA, liquid chrome plating, socket adapters, and aluminum tube for prostheses
43 x 14 x 20 inches
(109.2 x 35.6 x 50.8 cm)
Berenice Olmedo
Nahuel, 2025
PLA, liquid chrome plating, socket adapters, and aluminum tube for prostheses
43 x 14 x 20 inches
(109.2 x 35.6 x 50.8 cm)
Berenice Olmedo
Nahuel, 2025
PLA, liquid chrome plating, socket adapters, and aluminum tube for prostheses
43 x 14 x 20 inches
(109.2 x 35.6 x 50.8 cm)
Berenice Olmedo
Nahuel, 2025
PLA, liquid chrome plating, socket adapters, and aluminum tube for prostheses
43 x 14 x 20 inches
(109.2 x 35.6 x 50.8 cm)
Berenice Olmedo
Ankatu, 2025
PLA, copper, nickel, socket adapters, and aluminum tube for prostheses
42 1/2 x 13 x 19 1/4 inches
(108 x 33 x 48.9 cm)
Berenice Olmedo
Ankatu, 2025
PLA, copper, nickel, socket adapters, and aluminum tube for prostheses
42 1/2 x 13 x 19 1/4 inches
(108 x 33 x 48.9 cm)
Berenice Olmedo
Ankatu, 2025
PLA, copper, nickel, socket adapters, and aluminum tube for prostheses
42 1/2 x 13 x 19 1/4 inches
(108 x 33 x 48.9 cm)
Berenice Olmedo
Ankatu, 2025
PLA, copper, nickel, socket adapters, and aluminum tube for prostheses
42 1/2 x 13 x 19 1/4 inches
(108 x 33 x 48.9 cm)
Carlos Agredano
Collector, 2025
smog, carbon monoxide (CO), sulfur dioxide (SO2), nitrogen dioxide (NO2), ground level ozone (O3), particulate matter (PM2.5 and PM10), soot, dirt, dust, automobile tire microplastics, and other unidentified debris sourced from Lynwood, California on canvas
102 1/4 x 72 inches
(259.7 x 182.9 cm)
framed:
102 7/8 x 72 1/2 x 2 inches
(261.3 x 184.2 x 5.1 cm)
Carlos Agredano
Collector, 2025
smog, carbon monoxide (CO), sulfur dioxide (SO2), nitrogen dioxide (NO2), ground level ozone (O3), particulate matter (PM2.5 and PM10), soot, dirt, dust, automobile tire microplastics, and other unidentified debris sourced from Lynwood, California on canvas
102 1/4 x 72 inches
(259.7 x 182.9 cm)
framed:
102 7/8 x 72 1/2 x 2 inches
(261.3 x 184.2 x 5.1 cm)
Carlos Agredano
Collector, 2025
smog, carbon monoxide (CO), sulfur dioxide (SO2), nitrogen dioxide (NO2), ground level ozone (O3), particulate matter (PM2.5 and PM10), soot, dirt, dust, automobile tire microplastics, and other unidentified debris sourced from Lynwood, California on canvas
102 1/4 x 72 inches
(259.7 x 182.9 cm)
framed:
102 7/8 x 72 1/2 x 2 inches
(261.3 x 184.2 x 5.1 cm)
Carlos Agredano
Collector, 2025
smog, carbon monoxide (CO), sulfur dioxide (SO2), nitrogen dioxide (NO2), ground level ozone (O3), particulate matter (PM2.5 and PM10), soot, dirt, dust, automobile tire microplastics, and other unidentified debris sourced from Lynwood, California on canvas
102 1/4 x 72 inches
(259.7 x 182.9 cm)
framed:
102 7/8 x 72 1/2 x 2 inches
(261.3 x 184.2 x 5.1 cm)
Tristan Unrau
Interval, 2025
oil on linen
41 x 34 inches
(104.1 x 86.4 cm)
framed:
44 3/4 x 37 3/4 x 1 3/4 inches
(113.7 x 95.9 x 4.4 cm)
Tristan Unrau
Interval, 2025
oil on linen
41 x 34 inches
(104.1 x 86.4 cm)
framed:
44 3/4 x 37 3/4 x 1 3/4 inches
(113.7 x 95.9 x 4.4 cm)
Tristan Unrau
Interval, 2025
oil on linen
41 x 34 inches
(104.1 x 86.4 cm)
framed:
44 3/4 x 37 3/4 x 1 3/4 inches
(113.7 x 95.9 x 4.4 cm)
Tristan Unrau
Interval, 2025
oil on linen
41 x 34 inches
(104.1 x 86.4 cm)
framed:
44 3/4 x 37 3/4 x 1 3/4 inches
(113.7 x 95.9 x 4.4 cm)
Shahryar Nashat
Untitled, 2021
papier mâché, epoxy resin, and acrylic
37 x 14 x 10 inches
(94 x 35.6 x 25.4 cm)
Shahryar Nashat
Untitled, 2021
papier mâché, epoxy resin, and acrylic
37 x 14 x 10 inches
(94 x 35.6 x 25.4 cm)
Shahryar Nashat
Untitled, 2021
papier mâché, epoxy resin, and acrylic
37 x 14 x 10 inches
(94 x 35.6 x 25.4 cm)
Shahryar Nashat
Untitled, 2021
papier mâché, epoxy resin, and acrylic
37 x 14 x 10 inches
(94 x 35.6 x 25.4 cm)
Shahryar Nashat
Untitled, 2021
epoxy resin, acrylic, Styrofoam, and Plexiglas
11 1/4 x 15 x 13 1/4 inches
(28.6 x 38.1 x 33.7 cm)
Shahryar Nashat
Untitled, 2021
epoxy resin, acrylic, Styrofoam, and Plexiglas
11 1/4 x 15 x 13 1/4 inches
(28.6 x 38.1 x 33.7 cm)
Shahryar Nashat
Untitled, 2021
epoxy resin, acrylic, Styrofoam, and Plexiglas
11 1/4 x 15 x 13 1/4 inches
(28.6 x 38.1 x 33.7 cm)
Shahryar Nashat
Untitled, 2021
epoxy resin, acrylic, Styrofoam, and Plexiglas
11 1/4 x 15 x 13 1/4 inches
(28.6 x 38.1 x 33.7 cm)
Tavares Strachan
Gemini VIII (Dog, Woman, and Tent), 2025
pigment, acrylic paint, and pulp on panel
60 x 60 x 1 3/4 inches
(152.4 x 152.4 x 4.4 cm)
Tavares Strachan
Gemini VIII (Dog, Woman, and Tent), 2025
pigment, acrylic paint, and pulp on panel
60 x 60 x 1 3/4 inches
(152.4 x 152.4 x 4.4 cm)
Tavares Strachan
Gemini VIII (Dog, Woman, and Tent), 2025
pigment, acrylic paint, and pulp on panel
60 x 60 x 1 inches
(152.4 x 152.4 x 2.5 cm)
Tavares Strachan
Gemini VIII (Dog, Woman, and Tent), 2025
pigment, acrylic paint, and pulp on panel
60 x 60 x 1 3/4 inches
(152.4 x 152.4 x 4.4 cm)
Lucy Bull
21:24, 2025
oil on linen
48 x 36 x 1 inches
(121.9 x 91.4 x 2.5 cm)
Lucy Bull
21:24, 2025
oil on linen
48 x 36 x 1 inches
(121.9 x 91.4 x 2.5 cm)
Lucy Bull
21:24, 2025
oil on linen
48 x 36 x 1 inches
(121.9 x 91.4 x 2.5 cm)
Lucy Bull
21:24, 2025
oil on linen
48 x 36 x 1 inches
(121.9 x 91.4 x 2.5 cm)
Jake Longstreth
In the Verdugo Mountains, 2025
oil on canvas
84 x 72 inches
(213.4 x 182.9 cm)
framed:
85 x 73 x 2 1/4 inches
(215.9 x 185.4 x 5.7 cm)
Jake Longstreth
In the Verdugo Mountains, 2025
oil on canvas
84 x 72 inches
(213.4 x 182.9 cm)
framed:
85 x 73 x 2 1/4 inches
(215.9 x 185.4 x 5.7 cm)
Jake Longstreth
In the Verdugo Mountains, 2025
oil on canvas
84 x 72 inches
(213.4 x 182.9 cm)
framed:
85 x 73 x 2 1/4 inches
(215.9 x 185.4 x 5.7 cm)
Jake Longstreth
In the Verdugo Mountains, 2025
oil on canvas
84 x 72 inches
(213.4 x 182.9 cm)
framed:
85 x 73 x 2 1/4 inches
(215.9 x 185.4 x 5.7 cm)
Ohad Meromi
Reclining Youth, 2025
fiberglass, graphite, and resin
26 x 47 x 18 inches
(66 x 119.4 x 45.7 cm)
Ohad Meromi
Reclining Youth, 2025
fiberglass, graphite, and resin
26 x 47 x 18 inches
(66 x 119.4 x 45.7 cm)
Ohad Meromi
Reclining Youth, 2025
fiberglass, graphite, and resin
26 x 47 x 18 inches
(66 x 119.4 x 45.7 cm)
Ohad Meromi
Reclining Youth, 2025
fiberglass, graphite, and resin
26 x 47 x 18 inches
(66 x 119.4 x 45.7 cm)
Ali Eyal
I wished I could take a step and live with them, but, 2025
oil and conté on canvas
31 3/4 x 45 1/4 inches
(80.6 x 114.9 cm)
framed:
36 3/4 x 50 1/8 x 1 3/4 inches
(93.3 x 127.3 x 4.4 cm)
Ali Eyal
I wished I could take a step and live with them, but, 2025
oil and conté on canvas
31 3/4 x 45 1/4 inches
(80.6 x 114.9 cm)
framed:
36 3/4 x 50 1/8 x 1 3/4 inches
(93.3 x 127.3 x 4.4 cm)
Ali Eyal
I wished I could take a step and live with them, but, 2025
oil and conté on canvas
31 3/4 x 45 1/4 inches
(80.6 x 114.9 cm)
framed:
36 3/4 x 50 1/8 x 1 3/4 inches
(93.3 x 127.3 x 4.4 cm)
Ali Eyal
I wished I could take a step and live with them, but, 2025
oil and conté on canvas
31 3/4 x 45 1/4 inches
(80.6 x 114.9 cm)
framed:
36 3/4 x 50 1/8 x 1 3/4 inches
(93.3 x 127.3 x 4.4 cm)
Sayre Gomez
Landmark City, 2025
acrylic on canvas
50 x 72 inches
(127 x 182.9 cm)
Sayre Gomez
Landmark City, 2025
acrylic on canvas
50 x 72 inches
(127 x 182.9 cm)
Sayre Gomez
Landmark City, 2025
acrylic on canvas
50 x 72 inches
(127 x 182.9 cm)
(SGZ 25.001)
Sayre Gomez
Landmark City, 2025
acrylic on canvas
50 x 72 inches
(127 x 182.9 cm)
(SGZ 25.001)
Robin F. Williams
Birth of Venus, 2025
gouache on paper
50 x 38 1/4 inches
(126.8 x 97.2 cm)
framed:
53 x 41 3/8 x 2 inches
(134.6 x 105.1 x 5.1 cm)
Robin F. Williams
Birth of Venus, 2025
gouache on paper
50 x 38 1/4 inches
(126.8 x 97.2 cm)
framed:
53 x 41 3/8 x 2 inches
(134.6 x 105.1 x 5.1 cm)
Robin F. Williams
Birth of Venus, 2025
gouache on paper
50 x 38 1/4 inches
(126.8 x 97.2 cm)
framed:
53 x 41 3/8 x 2 inches
(134.6 x 105.1 x 5.1 cm)
Robin F. Williams
Birth of Venus, 2025
gouache on paper
50 x 38 1/4 inches
(126.8 x 97.2 cm)
framed:
53 x 41 3/8 x 2 inches
(134.6 x 105.1 x 5.1 cm)
Daiga Grantina
River, 2024
wood, ink, fabric, resin, and metal mesh
installation dimensions variable,
approximate installation dimensions:
134 x 44 x 36 inches
(340.4 x 111.8 x 91.4 cm)
Daiga Grantina
River, 2024
wood, ink, fabric, resin, and metal mesh
installation dimensions variable,
approximate installation dimensions:
134 x 44 x 36 inches
(340.4 x 111.8 x 91.4 cm)
Daiga Grantina
River, 2024
wood, ink, fabric, resin, and metal mesh
installation dimensions variable,
approximate installation dimensions:
134 x 44 x 36 inches
(340.4 x 111.8 x 91.4 cm)
Daiga Grantina
River, 2024
wood, ink, fabric, resin, and metal mesh
installation dimensions variable,
approximate installation dimensions:
134 x 44 x 36 inches
(340.4 x 111.8 x 91.4 cm)
Daiga Grantina
Appenzell by night, 2024
wood, ink, aluminum, and nails
21 5/8 x 94 1/2 x 4 inches
(55 x 240 x 10 cm)
Daiga Grantina
Appenzell by night, 2024
wood, ink, aluminum, and nails
21 5/8 x 94 1/2 x 4 inches
(55 x 240 x 10 cm)
Daiga Grantina
Appenzell by night, 2024
wood, ink, aluminum, and nails
installation dimensions variable,
approximate installation dimensions:
17 x 116 x 4 inches
(43.2 x 294.6 x 10.2 cm)
Daiga Grantina
Appenzell by night, 2024
wood, ink, aluminum, and nails
installation dimensions variable,
approximate installation dimensions:
17 x 116 x 4 inches
(43.2 x 294.6 x 10.2 cm)
Rachel Rossin
eyyHot Clanging Wraith, 2023
oil, oil stick, acrylic airbrush, and UV ink on canvas
84 x 40 x 1 1/2 inches
(213.4 x 101.6 x 3.8 cm)
Rachel Rossin
eyyHot Clanging Wraith, 2023
oil, oil stick, acrylic airbrush, and UV ink on canvas
84 x 40 x 1 1/2 inches
(213.4 x 101.6 x 3.8 cm)
Rachel Rossin
eyyHot Clanging Wraith, 2023
oil, oil stick, acrylic airbrush, and UV ink on canvas
84 x 40 x 1 1/2 inches
(213.4 x 101.6 x 3.8 cm)
Rachel Rossin
eyyHot Clanging Wraith, 2023
oil, oil stick, acrylic airbrush, and UV ink on canvas
84 x 40 x 1 1/2 inches
(213.4 x 101.6 x 3.8 cm)
Anicka Yi
ÚñKñWñK, 2025
acrylic and UV print, in artist's frame
65 5/8 x 32 3/8 x 3 1/2 inches
(166.7 x 82.2 x 8.9 cm)
Anicka Yi
ÚñKñWñK, 2025
acrylic and UV print, in artist's frame
65 5/8 x 32 3/8 x 3 1/2 inches
(166.7 x 82.2 x 8.9 cm)
Anicka Yi
ÚñKñWñK, 2025
acrylic and UV print, in artist's frame
62 1/2 x 32 1/2 x 3 1/2 inches
(158.8 x 82.5 x 8.9 cm)
Anicka Yi
ÚñKñWñK, 2025
acrylic and UV print, in artist's frame
62 1/2 x 32 1/2 x 3 1/2 inches
(158.8 x 82.5 x 8.9 cm)
Chiffon Thomas
Untitled, 2023
Hydrocal and resin
26 x 18 1/2 x 9 inches
(66 x 47 x 22.9 cm)
Chiffon Thomas
Untitled, 2023
Hydrocal and resin
26 x 18 1/2 x 9 inches
(66 x 47 x 22.9 cm)
Chiffon Thomas
Untitled, 2023
Hydrocal and resin
26 x 18 1/2 x 9 inches
(66 x 47 x 22.9 cm)
Chiffon Thomas
Untitled, 2023
Hydrocal and resin
26 x 18 1/2 x 9 inches
(66 x 47 x 22.9 cm)
Yifan Jiang
Fountain, 2025
oil on canvas
96 1/4 x 60 x 1 3/4 inches
(244.5 x 152.4 x 4.4 cm)
Yifan Jiang
Fountain, 2025
oil on canvas
96 1/4 x 60 x 1 3/4 inches
(244.5 x 152.4 x 4.4 cm)
Yifan Jiang
Fountain, 2025
oil on canvas
96 x 60 x 1 1/4 inches
(243.8 x 152.4 x 3.2 cm)
Yifan Jiang
Fountain, 2025
oil on canvas
96 1/4 x 60 x 1 3/4 inches
(244.5 x 152.4 x 4.4 cm)
David Kordansky Gallery is pleased to present Second Body, an exhibition of works by nearly thirty artists that explores the dissolving boundaries between all life on earth. On view from July 15 through August 16, 2025, in Los Angeles at 5130 W. Edgewood Pl., the exhibition considers the porous intersections of the individual body, the environment, and technology. An opening reception will be held on Tuesday, July 15 from 6 until 8 PM.
Curated by Molly Everett, an artist liaison at the gallery, and inspired by Daisy Hildyard’s 2019 essay “The Second Body,” the exhibition invokes her concept of how every human is a singular being, made of flesh and bone, at once separate yet simultaneously diffuse and intimately joined; one of many “implicated in the whole world.” Considering this interconnected and pluralistic presence of the individual body and the increasing permeability of boundaries in the face of climate change, the featured artworks span a variety of media, including sculpture, painting, ceramics, collage, photography, installation, and video.
Among the highlights in this diverse, multi-generation-spanning exhibition are new and recent paintings by Lucy Bull, Ali Eyal, Sayre Gomez, Shara Hughes, Tavares Strachan, Rachel Rossin, Christopher Kulendran Thomas, and Tristan Unrau; sculptures by Kahlil Robert Irving, Josh Kline, Ohad Meromi, Shahryar Nashat, Berenice Olmedo, Magali Reus, Chiffon Thomas, and Kaari Upson; video and photographic work by Guan Xiao, Rose Salane, and Ashley Teamer; and works by Jeffrey Meris, Xin Liu, and Anicka Yi that transcend traditional genre distinctions.
Central to the exhibition is the body, both human and non-human, and its physical presence and material resonance as it pertains to the earth’s resources and technology. A sculpture by Chiffon Thomas, for example, reveals the mutant corporeality of a tree in a form that resembles a trunk with delicate layers of bark that gives way to a torso and humanoid chest. In Xin Liu’s genre-defying work, a central spine with black snaking arteries expands across a silicone panel that supports bronze lips. Cast from the artist’s body, the lips are encased with layers of frost due to a cooling mechanism referencing technologies that interfere with natural life cycles as well as the role of the female body in perpetuating the human species.
Although the body is inherently connected to the earth, contemporary lived experience and embodiment are frequently mediated through technology. Artists including Moka Lee, Tristan Unrau, Rachel Rossin, Christopher Kulendran Thomas, and Anicka Yi consider the phenomenological experience of technology, examining how virtual and real spaces intersect to shape perception. A surreal portrait by Moka Lee signals unsettling realities of digital life, including modern disconnection and disaffection. For Rachel Rossin, painting is a record of the body’s nervous system, where expressive gestures intertwine with AI-generated imagery trained on her own work, reflecting her deep enmeshment with technology. To generate her composition of painterly gesture and material fluidity, Anicka Yi also utilizes a custom software that orchestrates the interplay of ink-like movement and machine learning. This process, for Yi, resists the binary of human versus machine creativity, and instead proposes a model of co-composition and open-ended dialogue that can lead to aesthetic and conceptual transformation. Similarly, Christopher Kulendran Thomas generates the images for his paintings, which are executed by hand, by employing a neural network trained on the colonial art history that was first brought to Sri Lanka by European settlers. Central to Kulendran Thomas’ practice is the uncertainty about where the human ends and everything else begins, including the flows of networks and ecologies.
This bodily displacement and fragmentation also point to the irregularity and inequity of exploited landscapes increasingly dominated by industry. To this effect, Carlos Agredano’s canvas stained with blooms of smog and debris points to histories of discriminatory practices in the development of the Los Angeles freeway system while demonstrating how environmental racism continues to disproportionately impact communities of color. On the façade of the gallery, Agredano’s Environmental Protection Agency Air Quality Flag Program signals the changing air conditions specific to the area surrounding the gallery. At the same time, Josh Kline investigates issues of labor and uneven conditions of livability exacerbated by industry and capitalism by repurposing found objects, such as a gas canister, in his suspended sculpture.
Taken together, this presentation seeks to consider such paradoxical entwinements while investigating how the individual body, in all its multiple material and immaterial realities, can function as a site of transformation and as a bridge between personal and collective experience. The diverse works on view invite reflection on the complexities of our physical presence and the fluidity of existence within intertwined social, environmental, and material histories while illuminating the vital need for imaginative and pluriversal perspectives of spheres beyond the human.
Participating Artists: Carlos Agredano, Lucy Bull, Ali Eyal, Sayre Gomez, Daiga Grantina, Guan Xiao, Shara Hughes, Kahlil Robert Irving, Yifan Jiang, Josh Kline, Moka Lee, Xin Liu, Jake Longstreth, Jeffrey Meris, Ohad Meromi, Shahryar Nashat, Berenice Olmedo, Karol Palczak, Magali Reus, Rachel Rossin, Rose Salane, Tavares Strachan, Ashley Teamer, Chiffon Thomas, Christopher Kulendran Thomas, Tristan Unrau, Kaari Upson, Robin F. Williams, and Anicka Yi.
With respect to the various interpretations of the land by the artists in this exhibition, we at David Kordansky Gallery would like to acknowledge that our spaces were built and physically reside on the traditional homelands once known as Tovaangar (Los Angeles basin, Southern Channel Islands) and home to the Tongva people—later referred to as Gabrieleño and Fernandeño by Spanish colonizers. We understand that acknowledging the gallery’s occupation on Tovaangar homeland calls for us to commit to continuing to learn how to be better stewards of the land we inhabit.
