Vielmetter, Los Angeles
Patrick Wilson builds his paintings slowly – dozens of ultra-thin films of pure color pulled across the canvas, each shape and hue a direct response to the last. The titles come later, through free association, once meaning has had time to gather at its own speed. Free Lemons sings in acid yellow, sky blue, and orange marmalade. Szechuan Food sizzles in toasted browns and hot pinks against thin borders of teal. Analog Music turns sound into geometry. Things I Like opens at Vielmetter September 5th and makes a quiet, persuasive case for slowing down.
Sep 5 – Oct 17, 2026
Regen Projects, Los Angeles
Silke Otto-Knapp worked in watercolor on canvas, which sounds straightforward until you understand her method: layers of black paint applied, sprayed with water, the canvas turned and scrubbed and scraped until figures emerged from the white primer underneath. Control and unpredictability in constant negotiation. This focused presentation at Regen Projects – shown concurrently with Elliott Hundley's Book of Sand – brings together small paintings and studies, many never shown before, that trace the development of that singular technique. Modernist dancers, romantic seascapes, Ballets Russes set designs, Fassbinder, Trisha Brown, Yves Saint Laurent – Otto-Knapp's reference points were wide and her own, and the paintings hold all of it lightly. A quiet show that rewards close looking.
Sep 16 – Oct 24, 2026
David Kordansky Gallery, Los Angeles
Tala Madani paints figures being broken down and rebuilt – sometimes willingly, sometimes not. Control X at David Kordansky brings together new paintings and animations that trace the line between making and destroying, monumentalizing and desecrating, humor and critique. The mountain portraits are new – powerful figures rendered so large they've become landscape, sublime and a little absurd. Then there's Alphabet City, her longest animation to date, in which letters escape their books, build their own world, and start dominating the humans around them. It goes where you'd expect from Madani – somewhere funny, somewhere dark, somewhere uncomfortably true.
Sep 18 – Oct 24, 2026
Hauser & Wirth, Los Angeles
A studio fire in 1980 forced Jack Whitten to stop. When he came back, something had shifted – the work grew more urgent, more spiritually charged, more technically daring than ever. This show at Hauser & Wirth Downtown LA focuses on that pivotal decade, bringing together the Soulspace paintings, circular acrylic reliefs referencing celestial navigation, pixel-like grids that anticipate his later tesserae works, and the Site paintings cast directly from manhole covers and tire treads. An artist integrating material invention, Black identity, and animist spirituality into something entirely his own. Following last year's MoMA retrospective, this feels like the right moment to look closely at where it all changed.
30 Sep 2026 – 10 Jan 2027
Pace Gallery, Los Angeles
David Lynch arrived in Los Angeles in the middle of the night in 1972 and woke up to jasmine and Southern California light. He never really left – and the city never left his work. This show at Pace, the first presentation of his photography in LA since his passing, brings together five series made between 1979 and 2008. Women's faces cropped tight, smoke drifting from red-stained mouths. The nude body dissolved into landscape. The Kits series – Lynch documenting the disassembly of a fish, a chicken, a duck, with wry instructions on reassembly. Quieter than the films. Just as strange.
Sep 19 – Oct 24, 2026
Regen Projects, Los Angeles
Elliott Hundley turns his seventh show at Regen Projects inward. Previous exhibitions drew from Euripides, Rilke, Artaud, Genet – this one draws from Hundley himself, following a path of pure automatism: paint, paper cut-outs, string, encaustic, pins, found materials assembled without a predetermined narrative or destination. The title comes from a Borges story about a bible with no beginning and no end, infinite and a little diabolical, which feels right. Sculptures built around objects of personal resonance. A tapestry incorporating pieces of his mother's wedding veil. The gallery arranged like a Jungian sand tray, the works inside it like figurines in a psychic landscape. Hundley collecting, accumulating, losing himself in it – and finding something on the other side.
Sep 16 – Oct 24, 2026
Hammer Museum, Los Angeles
Huguette Caland lived many lives – Lebanese by birth, French by marriage, American by choice, and eventually a fixture in Venice, California, where she made work and kept company with leading artists well into her later years. This major survey at the Hammer brings together around 150 drawings, paintings, sculptures and textiles, and the picture that emerges is of an artist who was funny, sensual, defiant, and deeply unconcerned with anyone else's idea of what she should be making. Humor, gender, aging, physicality – Caland went there, always. Better late than never that the world caught up.
Sep 27, 2026 – Feb 28, 2027
Charlie James Gallery, Los Angeles
Alejandro and Vicente Perez grew up in South Gate around their father's car club, and they never really left. The twins paint lowrider culture the way the cars themselves are finished – with obsessive attention, high-gloss resin, reflective flake, and a deep, obvious love for the subject. The show takes its name from a 1984 Debbie Deb track that soundtracked their childhood, and that energy carries through – defiant joy, the pleasure of coming together after working hard apart. Men polishing cars in driveways. A 1964 Impala too beautiful to drive on LA roads. A panoramic Sunday afternoon at Victoria Park, crowds and shade tents and a dozen cars gleaming in the sun. The Perez Bros. have always painted the cars. Now they're painting the whole world around them.
Sept 11 – Oct 24, 2026
Vielmetter, Los Angeles
Patrick Wilson builds his paintings slowly – dozens of ultra-thin films of pure color pulled across the canvas, each shape and hue a direct response to the last. The titles come later, through free association, once meaning has had time to gather at its own speed. Free Lemons sings in acid yellow, sky blue, and orange marmalade. Szechuan Food sizzles in toasted browns and hot pinks against thin borders of teal. Analog Music turns sound into geometry. Things I Like opens at Vielmetter September 5th and makes a quiet, persuasive case for slowing down.
Sep 5 – Oct 17, 2026
Regen Projects, Los Angeles
Silke Otto-Knapp worked in watercolor on canvas, which sounds straightforward until you understand her method: layers of black paint applied, sprayed with water, the canvas turned and scrubbed and scraped until figures emerged from the white primer underneath. Control and unpredictability in constant negotiation. This focused presentation at Regen Projects – shown concurrently with Elliott Hundley's Book of Sand – brings together small paintings and studies, many never shown before, that trace the development of that singular technique. Modernist dancers, romantic seascapes, Ballets Russes set designs, Fassbinder, Trisha Brown, Yves Saint Laurent – Otto-Knapp's reference points were wide and her own, and the paintings hold all of it lightly. A quiet show that rewards close looking.
Sep 16 – Oct 24, 2026
David Kordansky Gallery, Los Angeles
Tala Madani paints figures being broken down and rebuilt – sometimes willingly, sometimes not. Control X at David Kordansky brings together new paintings and animations that trace the line between making and destroying, monumentalizing and desecrating, humor and critique. The mountain portraits are new – powerful figures rendered so large they've become landscape, sublime and a little absurd. Then there's Alphabet City, her longest animation to date, in which letters escape their books, build their own world, and start dominating the humans around them. It goes where you'd expect from Madani – somewhere funny, somewhere dark, somewhere uncomfortably true.
Sep 18 – Oct 24, 2026
Hauser & Wirth, Los Angeles
A studio fire in 1980 forced Jack Whitten to stop. When he came back, something had shifted – the work grew more urgent, more spiritually charged, more technically daring than ever. This show at Hauser & Wirth Downtown LA focuses on that pivotal decade, bringing together the Soulspace paintings, circular acrylic reliefs referencing celestial navigation, pixel-like grids that anticipate his later tesserae works, and the Site paintings cast directly from manhole covers and tire treads. An artist integrating material invention, Black identity, and animist spirituality into something entirely his own. Following last year's MoMA retrospective, this feels like the right moment to look closely at where it all changed.
30 Sep 2026 – 10 Jan 2027
Pace Gallery, Los Angeles
David Lynch arrived in Los Angeles in the middle of the night in 1972 and woke up to jasmine and Southern California light. He never really left – and the city never left his work. This show at Pace, the first presentation of his photography in LA since his passing, brings together five series made between 1979 and 2008. Women's faces cropped tight, smoke drifting from red-stained mouths. The nude body dissolved into landscape. The Kits series – Lynch documenting the disassembly of a fish, a chicken, a duck, with wry instructions on reassembly. Quieter than the films. Just as strange.
Sep 19 – Oct 24, 2026
Regen Projects, Los Angeles
Elliott Hundley turns his seventh show at Regen Projects inward. Previous exhibitions drew from Euripides, Rilke, Artaud, Genet – this one draws from Hundley himself, following a path of pure automatism: paint, paper cut-outs, string, encaustic, pins, found materials assembled without a predetermined narrative or destination. The title comes from a Borges story about a bible with no beginning and no end, infinite and a little diabolical, which feels right. Sculptures built around objects of personal resonance. A tapestry incorporating pieces of his mother's wedding veil. The gallery arranged like a Jungian sand tray, the works inside it like figurines in a psychic landscape. Hundley collecting, accumulating, losing himself in it – and finding something on the other side.
Sep 16 – Oct 24, 2026
Hammer Museum, Los Angeles
Huguette Caland lived many lives – Lebanese by birth, French by marriage, American by choice, and eventually a fixture in Venice, California, where she made work and kept company with leading artists well into her later years. This major survey at the Hammer brings together around 150 drawings, paintings, sculptures and textiles, and the picture that emerges is of an artist who was funny, sensual, defiant, and deeply unconcerned with anyone else's idea of what she should be making. Humor, gender, aging, physicality – Caland went there, always. Better late than never that the world caught up.
Sep 27, 2026 – Feb 28, 2027
Charlie James Gallery, Los Angeles
Alejandro and Vicente Perez grew up in South Gate around their father's car club, and they never really left. The twins paint lowrider culture the way the cars themselves are finished – with obsessive attention, high-gloss resin, reflective flake, and a deep, obvious love for the subject. The show takes its name from a 1984 Debbie Deb track that soundtracked their childhood, and that energy carries through – defiant joy, the pleasure of coming together after working hard apart. Men polishing cars in driveways. A 1964 Impala too beautiful to drive on LA roads. A panoramic Sunday afternoon at Victoria Park, crowds and shade tents and a dozen cars gleaming in the sun. The Perez Bros. have always painted the cars. Now they're painting the whole world around them.
Sept 11 – Oct 24, 2026