This fall, a diverse array of art exhibitions is opening across multiple galleries and institutions, offering audiences a broad spectrum of contemporary and historical perspectives through various media. The season features works that explore themes of migration, identity, history, and political and social commentary.
At the Skirball Museum, Jenny Yurshansky’s “What We Carry” runs from October 22 through February 28. The Los Angeles-based artist draws on her family’s experience as Soviet Jewish refugees, combining personal objects identified through museum workshops with selections from the Skirball’s collection to evoke stories of migration and survival.
Several exhibitions continue through October. Egyptian American artist Sherin Guirguis’s “Into the Lake of Fire” at Luis de Jesus Los Angeles presents monoprints that incorporate pigments traditionally used in Egyptian art, reflecting Indigenous Egyptian perspectives informed by archival research conducted during a fellowship in Paris. At Parrasch Heijnen, “Charles Dickson: Select Works, 1965-2026” showcases decades of sculptural assemblages exploring the politics of beauty and the legacy of slavery. Meanwhile, Palestinian American artist Jordan Nassar’s “Describing Clouds” at Anat Ebgi features traditional cross-stitch embroidery and mosaic work inspired by a damaged 5th-century Byzantine site in Gaza.
The Von Lintel Gallery hosts Mark Mennin’s “Despotika: Fallen Dictators” through October 31. Mennin creates marble sculptures that blend classical and surreal elements to form anti-majestic memorials. At Timothy Hawkinson Gallery, Dan Levenson presents “SKZ Centimeter Studies Classroom” through November 7, featuring paintings and furniture from a fictional early-20th-century Swiss modernist art school that interrogate the transmission of artistic ideals.
Other ongoing shows include Fabiola Menchelli’s “Our Sharp Line of Sight” at Marshall Gallery, displaying camera-less photographic works centered on perception and the nature of photography; Thomas Demand’s exhibition at Matthew Marks Gallery, where paper and cardboard constructed models are transformed into photographic images; and “Eleanor Antin: Alternative Facts” at Diane Rosenstein Gallery, presenting early photographic series that use theatrical personas to challenge gendered narratives of history and power.
The Claremont Lewis Museum of Art exhibits “Samella! Black as Lacquer and Iron” through November 15, honoring artist and art historian Samella Lewis with her works alongside those by students and colleagues. Kathleen Henderson’s politically and ecologically charged oil stick drawings are on view at Track 16 downtown (“Clappers”) through November 21.
Photography by Graciela Iturbide from the 1980s, including intimate portraits of Deaf women affiliated with the Los Angeles gang White Fence, is displayed at Rose Gallery in “White Fence, Los Cholos,” running through December 5. The Marciano Art Foundation showcases French artist Pierre Leguillon’s conceptual archive “Ads & Brands” through February 27, highlighting his critique of cultural significance through humor and experimentation.
Finally, ICA LA presents “Amia Yokoyama: Our Strange Hollows” through February 28. The Los Angeles-based artist works across installation, sculpture, painting, animation, and holography to explore metamorphosis and multidimensionality, reflecting processes found in both natural phenomena and the human body.
These exhibitions collectively provide a rich and multifaceted view of contemporary art practices and historical reflections, inviting audiences to engage with personal and collective narratives across a variety of forms and contexts throughout the fall season.