Frieze Los Angeles 2026

A central highlight is Olga de Amaral’s Aqua 14 (2016), presented following her recent solo exhibition at the gallery in Los Angeles. Long recognized for her radical expansion of textile traditions, de Amaral brings painting, sculpture, and weaving into dynamic tension. In Aqua 14, tonal modulation and reflective surfaces activate light as a generative force, producing an undulating field that resists fixed pictorial depth and reimagines surface as spatial experience.

Anish Kapoor is represented by a work from his ongoing engagement with Vantablack, continuing his exploration of void, perception, and the instability of form. Presented alongside concurrent exhibitions of stainless-steel sculptures at Lisson Gallery New York and of paintings at SCAD Museum of Art, and ahead of his forthcoming major solo exhibition at the Hayward Gallery in London, the work situates Kapoor’s practice within a sustained investigation of absence as both material and metaphysical condition.

Material and ecological narratives resonate in Otobong Nkanga’s Cadence – Broken (2025), which traces entanglements between land, labor, and extraction through layered visual and conceptual registers. Rodney Graham’s Untitled (2022), presented concurrently with his solo exhibition in London, reflects painting as a recurring and quietly generative aspect of his practice, where material experimentation intersects with historical and philosophical reference.

Sculptural works by Los Angeles-based artist Kelly Akashi further ground the presentation within a local context. Ahead of her participation in the 2026 Whitney Biennial and an upcoming exhibition at Lisson Gallery New York, Akashi’s work reflects on fragility, temporality, and bodily presence, using material processes to register states of vulnerability and care.

Photography introduces a meditative temporal dimension to the booth. Hiroshi Sugimoto’s Bay of Sagami, Atami (1997), from his seminal Seascapes series, presents the horizon as a threshold between perception and duration. Garrett Bradley’s photographs 101, 1, California and 101, 2, California (2021), produced during research across California and Nevada, extend her cinematic engagement with movement, place, and the social resonances embedded in landscape. Conceptual and wall-based works deepen the presentation’s reflective register. Ryan Gander’s I be… (lxxix) (2024) engages language and selfhood through subtle material shifts, while Hugh Hayden’s Mariners Baseball Cap (2025) reconfigures a familiar cultural emblem, collapsing distinctions between the natural and the constructed. These works enter into dialogue with Channa Horwitz’s Rhythm of Lines (1993), a key example of her systems-based approach to abstraction. Born and based in Los Angeles throughout her life, Horwitz is now widely recognized as a foundational figure in Conceptual Art and West Coast Minimalism.

Painting runs as a connective thread across the presentation. Oliver Lee Jackson’s Painting (7.14.23) (2023) demonstrates his ongoing synthesis of abstraction and figuration, while rare gouache works by Hélio Oiticica foreground the artist’s radical investigations of color, structure, and spatial rhythm. New works on paper by Dalton Paula explore memory, joy, and cultural continuity, and paintings by Spencer Finch are presented ahead of his solo exhibition at Lisson Gallery Los Angeles in summer 2026.

In parallel with Frieze Los Angeles, Lisson Gallery will present a solo exhibition by Japanese-Swiss artist Leiko Ikemura at its West Hollywood space, opening February 24 at 6pm. Marking her first exhibition in Los Angeles, the presentation spans works from the past decade and explores the relationship between the female body and the natural world, what Ikemura describes as “the place where two worlds come together,” through dreamlike landscapes that blur figuration and abstraction.