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moca
The Museum of Contemporary Art
Los Angeles’s home for contemporary art.
Founded by artists in 1979.
💫 MOCA 2025 Wrapped!
You had to be there, but also here it is!
Visiting MOCA in 2026? We highly recommend it. Fresh exhibitions, public programs, and ways to look closer together. On view, on stage, and in conversation. See you there!✨
VALIE EXPORT (1940-2026)
VALIE EXPORT was one of Austria's most prominent artists of the postwar avant garde. Over seven decades, she experimented with video, expanded cinema, conceptual photography, persona performances, computer works, laser installations, drawings, and objects and published extensively on contemporary art.
Born in Linz, Austria, in 1940, she moved to Vienna in 1960 and quickly made contact with the group of artists known as the Viennese Actionists. In 1967, she coined the name VALIE EXPORT--written in capital letters--as her artistic concept and logo, inspired in part by the package for Smart Export cigarettes. She gave up her given name (her father's name) to render a new name synonymous with radical self-determination.
EXPORT was interested in how bodies--primarily those of women--are shaped by external factors, such as language, technology, and the media, so as to create inner states or conditions. Often working in public spaces, she used her body as a medium for the exploration of social reality.
EXPORT's work was featured in two major exhibitions at MOCA, "Out of Actions: Between Performance and the Object, 1949-1979" (1998) and "WACK! Art and the Feminist Revolution" (2007).
Her 1968 work "Identity Transfer 1-3" is included in MOCA's collection. The triptych shows the artist mugging for the camera in a wig, zippered jacket, and gold jewelry, subtly modulating her poses, facial expressions, and clothing styling. This work explores how photography transfers or transforms complex self-identity into a static image, deconstructing the ways that make-up, jewelry, hair, clothes, stance, and other culturally defined gender codes, or signs, denote feminine identity. EXPORT understood the significant role that visual media like photography, television, cinema, painting, and sculpture have historically played in representing a repressive, sexist image of women. However, EXPORT saw these same media as potential tools for women’s social advancement. She argued that art can and should be a medium for women to develop a new image of themselves, as defined for and by themselves.
VALIE EXPORT (1940-2026)
VALIE EXPORT was one of Austria's most prominent artists of the postwar avant garde. Over seven decades, she experimented with video, expanded cinema, conceptual photography, persona performances, computer works, laser installations, drawings, and objects and published extensively on contemporary art.
Born in Linz, Austria, in 1940, she moved to Vienna in 1960 and quickly made contact with the group of artists known as the Viennese Actionists. In 1967, she coined the name VALIE EXPORT--written in capital letters--as her artistic concept and logo, inspired in part by the package for Smart Export cigarettes. She gave up her given name (her father's name) to render a new name synonymous with radical self-determination.
EXPORT was interested in how bodies--primarily those of women--are shaped by external factors, such as language, technology, and the media, so as to create inner states or conditions. Often working in public spaces, she used her body as a medium for the exploration of social reality.
EXPORT's work was featured in two major exhibitions at MOCA, "Out of Actions: Between Performance and the Object, 1949-1979" (1998) and "WACK! Art and the Feminist Revolution" (2007).
Her 1968 work "Identity Transfer 1-3" is included in MOCA's collection. The triptych shows the artist mugging for the camera in a wig, zippered jacket, and gold jewelry, subtly modulating her poses, facial expressions, and clothing styling. This work explores how photography transfers or transforms complex self-identity into a static image, deconstructing the ways that make-up, jewelry, hair, clothes, stance, and other culturally defined gender codes, or signs, denote feminine identity. EXPORT understood the significant role that visual media like photography, television, cinema, painting, and sculpture have historically played in representing a repressive, sexist image of women. However, EXPORT saw these same media as potential tools for women’s social advancement. She argued that art can and should be a medium for women to develop a new image of themselves, as defined for and by themselves.
VALIE EXPORT (1940-2026)
VALIE EXPORT was one of Austria's most prominent artists of the postwar avant garde. Over seven decades, she experimented with video, expanded cinema, conceptual photography, persona performances, computer works, laser installations, drawings, and objects and published extensively on contemporary art.
Born in Linz, Austria, in 1940, she moved to Vienna in 1960 and quickly made contact with the group of artists known as the Viennese Actionists. In 1967, she coined the name VALIE EXPORT--written in capital letters--as her artistic concept and logo, inspired in part by the package for Smart Export cigarettes. She gave up her given name (her father's name) to render a new name synonymous with radical self-determination.
EXPORT was interested in how bodies--primarily those of women--are shaped by external factors, such as language, technology, and the media, so as to create inner states or conditions. Often working in public spaces, she used her body as a medium for the exploration of social reality.
EXPORT's work was featured in two major exhibitions at MOCA, "Out of Actions: Between Performance and the Object, 1949-1979" (1998) and "WACK! Art and the Feminist Revolution" (2007).
Her 1968 work "Identity Transfer 1-3" is included in MOCA's collection. The triptych shows the artist mugging for the camera in a wig, zippered jacket, and gold jewelry, subtly modulating her poses, facial expressions, and clothing styling. This work explores how photography transfers or transforms complex self-identity into a static image, deconstructing the ways that make-up, jewelry, hair, clothes, stance, and other culturally defined gender codes, or signs, denote feminine identity. EXPORT understood the significant role that visual media like photography, television, cinema, painting, and sculpture have historically played in representing a repressive, sexist image of women. However, EXPORT saw these same media as potential tools for women’s social advancement. She argued that art can and should be a medium for women to develop a new image of themselves, as defined for and by themselves.
Los Angeles–based artist Diana Thater, born OTD, has been a force in video and installation art since the early 1990s. In "Delphine," (1999) which takes as its primary subject wild dolphins interacting with humans, the artist worked for the very first time with untrained animals in their natural habitat.
"Delphine," (1999), projects film and video footage of dolphins from many angles simulating the animals' underwater environment, including the ways they perceive it through sonar and sight.
Thater is committed to showing how her work is made. Delphine was shot using both digital video and film, and edited without trying to hide the difference between the two. The result is a fluid mix of the crispness of video and the texture and depth of film.
Happy Birthday, Diana Thater.
Watch the full video at youtube.com/moca
@dianathaterstudio
"The Mom Tapes," 1974-1978, by Ilene Segalove.
Image credit: Ilene Segalove, "The Mom Tapes," 1974–1978. Single-channel digital video (black-and-white and color, sound). The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by the Acquisition and Collection Committee.
Our collab with MOCA starts this weekend!
You can find us on the Sculpture Plaza at MOCA Grand Avenue on Saturday and Sunday from 11am-5pm! We can’t wait to see you all!
Happy Flyday.
There are many contemporary artists who use assistants to create works of art, but it's doubtful that any employ as many as John Knuth. Over 250,000 common house flies contributed to the completion of this body of paintings, living out their life cycle inside canvas-walled enclosures at the artist's Los Angeles studio. Knuth feeds the flies a mixture of sugar, water, and colored pigments that is drank and regurgitated millions of times over the course of six weeks. The resulting paintings are a record of this process, resulting in dense layers of chromatic fields sweeping across a surface comprised of countless tiny flyspeck. Knuth is drawn to the tensions between the controlled environment of his studio and the inherently non-social insects' unpredictable mark-making; a process that he feels mirrors contemporary society.
Watch the full video at youtube.com/@MOCA
@knuthstudio
MOCA's recently opened exhibition "The Expanding Field: MOCA's Collection from the 1940s to 1970s" demonstrates the MOCA collection’s historical depth. Shown here are a selection of the works by women in the exhibition.
Image 1: Corita Kent, "the handling is in your hands," 1966. Serigraph on Pellon
Paper. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by the Drawings Committee.
Image 2: Liliana Porter, "Untitled (self portrait with square)," 1973/2012. Gelatin silver print. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by the Drawings and Photography Committee.
Image 3: Mary Ann Unger, "Benchmarks," 1977. Bonded iron. The Museum of Contemporary Art, Los Angeles
Gift of Geoffrey Biddle and Eve Biddle.
Image 4: Essie Bendolph Pettway, Two-sided quilt: Blocks and 'One Patch' - stacked squares and rectangles variation," 1973. Cotton, polyester knit, and denim. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by Joel Wachs.
Image 5: Nancy Youdelman, "Leaves, A Self Portrait," 1973. Six color photographs in Plexiglas artist's frames. The Museum of Contemporary Art, Los Angeles. Gift of Olivia Marciano.
Image 6: Sherrie Levine, "Untitled (President: 2)," 1979. Collage on paper.
The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by Councilman Joel Wachs.
"The Expanding Field: MOCA's Collection from the 1940s to 1970s" is on view at MOCA Grand Avenue now through September 20, 2026.
MOCA's recently opened exhibition "The Expanding Field: MOCA's Collection from the 1940s to 1970s" demonstrates the MOCA collection’s historical depth. Shown here are a selection of the works by women in the exhibition.
Image 1: Corita Kent, "the handling is in your hands," 1966. Serigraph on Pellon
Paper. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by the Drawings Committee.
Image 2: Liliana Porter, "Untitled (self portrait with square)," 1973/2012. Gelatin silver print. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by the Drawings and Photography Committee.
Image 3: Mary Ann Unger, "Benchmarks," 1977. Bonded iron. The Museum of Contemporary Art, Los Angeles
Gift of Geoffrey Biddle and Eve Biddle.
Image 4: Essie Bendolph Pettway, Two-sided quilt: Blocks and 'One Patch' - stacked squares and rectangles variation," 1973. Cotton, polyester knit, and denim. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by Joel Wachs.
Image 5: Nancy Youdelman, "Leaves, A Self Portrait," 1973. Six color photographs in Plexiglas artist's frames. The Museum of Contemporary Art, Los Angeles. Gift of Olivia Marciano.
Image 6: Sherrie Levine, "Untitled (President: 2)," 1979. Collage on paper.
The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by Councilman Joel Wachs.
"The Expanding Field: MOCA's Collection from the 1940s to 1970s" is on view at MOCA Grand Avenue now through September 20, 2026.
MOCA's recently opened exhibition "The Expanding Field: MOCA's Collection from the 1940s to 1970s" demonstrates the MOCA collection’s historical depth. Shown here are a selection of the works by women in the exhibition.
Image 1: Corita Kent, "the handling is in your hands," 1966. Serigraph on Pellon
Paper. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by the Drawings Committee.
Image 2: Liliana Porter, "Untitled (self portrait with square)," 1973/2012. Gelatin silver print. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by the Drawings and Photography Committee.
Image 3: Mary Ann Unger, "Benchmarks," 1977. Bonded iron. The Museum of Contemporary Art, Los Angeles
Gift of Geoffrey Biddle and Eve Biddle.
Image 4: Essie Bendolph Pettway, Two-sided quilt: Blocks and 'One Patch' - stacked squares and rectangles variation," 1973. Cotton, polyester knit, and denim. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by Joel Wachs.
Image 5: Nancy Youdelman, "Leaves, A Self Portrait," 1973. Six color photographs in Plexiglas artist's frames. The Museum of Contemporary Art, Los Angeles. Gift of Olivia Marciano.
Image 6: Sherrie Levine, "Untitled (President: 2)," 1979. Collage on paper.
The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by Councilman Joel Wachs.
"The Expanding Field: MOCA's Collection from the 1940s to 1970s" is on view at MOCA Grand Avenue now through September 20, 2026.
MOCA's recently opened exhibition "The Expanding Field: MOCA's Collection from the 1940s to 1970s" demonstrates the MOCA collection’s historical depth. Shown here are a selection of the works by women in the exhibition.
Image 1: Corita Kent, "the handling is in your hands," 1966. Serigraph on Pellon
Paper. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by the Drawings Committee.
Image 2: Liliana Porter, "Untitled (self portrait with square)," 1973/2012. Gelatin silver print. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by the Drawings and Photography Committee.
Image 3: Mary Ann Unger, "Benchmarks," 1977. Bonded iron. The Museum of Contemporary Art, Los Angeles
Gift of Geoffrey Biddle and Eve Biddle.
Image 4: Essie Bendolph Pettway, Two-sided quilt: Blocks and 'One Patch' - stacked squares and rectangles variation," 1973. Cotton, polyester knit, and denim. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by Joel Wachs.
Image 5: Nancy Youdelman, "Leaves, A Self Portrait," 1973. Six color photographs in Plexiglas artist's frames. The Museum of Contemporary Art, Los Angeles. Gift of Olivia Marciano.
Image 6: Sherrie Levine, "Untitled (President: 2)," 1979. Collage on paper.
The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by Councilman Joel Wachs.
"The Expanding Field: MOCA's Collection from the 1940s to 1970s" is on view at MOCA Grand Avenue now through September 20, 2026.
MOCA's recently opened exhibition "The Expanding Field: MOCA's Collection from the 1940s to 1970s" demonstrates the MOCA collection’s historical depth. Shown here are a selection of the works by women in the exhibition.
Image 1: Corita Kent, "the handling is in your hands," 1966. Serigraph on Pellon
Paper. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by the Drawings Committee.
Image 2: Liliana Porter, "Untitled (self portrait with square)," 1973/2012. Gelatin silver print. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by the Drawings and Photography Committee.
Image 3: Mary Ann Unger, "Benchmarks," 1977. Bonded iron. The Museum of Contemporary Art, Los Angeles
Gift of Geoffrey Biddle and Eve Biddle.
Image 4: Essie Bendolph Pettway, Two-sided quilt: Blocks and 'One Patch' - stacked squares and rectangles variation," 1973. Cotton, polyester knit, and denim. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by Joel Wachs.
Image 5: Nancy Youdelman, "Leaves, A Self Portrait," 1973. Six color photographs in Plexiglas artist's frames. The Museum of Contemporary Art, Los Angeles. Gift of Olivia Marciano.
Image 6: Sherrie Levine, "Untitled (President: 2)," 1979. Collage on paper.
The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by Councilman Joel Wachs.
"The Expanding Field: MOCA's Collection from the 1940s to 1970s" is on view at MOCA Grand Avenue now through September 20, 2026.
MOCA's recently opened exhibition "The Expanding Field: MOCA's Collection from the 1940s to 1970s" demonstrates the MOCA collection’s historical depth. Shown here are a selection of the works by women in the exhibition.
Image 1: Corita Kent, "the handling is in your hands," 1966. Serigraph on Pellon
Paper. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by the Drawings Committee.
Image 2: Liliana Porter, "Untitled (self portrait with square)," 1973/2012. Gelatin silver print. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by the Drawings and Photography Committee.
Image 3: Mary Ann Unger, "Benchmarks," 1977. Bonded iron. The Museum of Contemporary Art, Los Angeles
Gift of Geoffrey Biddle and Eve Biddle.
Image 4: Essie Bendolph Pettway, Two-sided quilt: Blocks and 'One Patch' - stacked squares and rectangles variation," 1973. Cotton, polyester knit, and denim. The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by Joel Wachs.
Image 5: Nancy Youdelman, "Leaves, A Self Portrait," 1973. Six color photographs in Plexiglas artist's frames. The Museum of Contemporary Art, Los Angeles. Gift of Olivia Marciano.
Image 6: Sherrie Levine, "Untitled (President: 2)," 1979. Collage on paper.
The Museum of Contemporary Art, Los Angeles. Purchase with funds provided by Councilman Joel Wachs.
"The Expanding Field: MOCA's Collection from the 1940s to 1970s" is on view at MOCA Grand Avenue now through September 20, 2026.
RUN don't walk. Today, Sunday, May 3, is the closing day of the most-talked about exhibition of the year. MONUMENTS is on view at The Geffen Contemporary at MOCA in Little Tokyo and The Brick in East Hollywood.
Visit moca.org for more information.
@thebrick_la
Image credits: Installation views of MONUMENTS, October 23, 2025–May 3, 2026 at The Geffen Contemporary at MOCA and The Brick. Courtesy of The Museum of Contemporary Art (MOCA) and The Brick. Photo by Fredrik Nilsen.
Artist Hank Willis Thomas talks about his work "A Suspension of Hostilities" (2019), on view in MONUMENTS.
MONUMENTS closes tomorrow, Sunday, May 3, 2026. Don't miss the opportunity to see the most-talked about exhibition this year. Admission is free all weekend. On view at The Geffen Contemporary at MOCA and The Brick.
Learn more at moca.org
@thebrick_la
@hankwillisthomas
The GGET x MOCA collaboration is finally here.
Starting May 9th, find our coffee cart posted up outside the Museum of Contemporary Art, Los Angeles, every Friday–Sunday. Stop by for your favorite drinks from GGET and make a day of art, coffee, and culture!
"What is a monument?" We asked this question to visitors at MONUMENTS, read some of their responses above.
MONUMENTS closes this Sunday, May 3, 2026. Admission is FREE at The Geffen Contemporary and The Brick. Don't miss your chance to see the most-talked about exhibition this year.
For more information: moca.org
@thebrick_la
"What is a monument?" We asked this question to visitors at MONUMENTS, read some of their responses above.
MONUMENTS closes this Sunday, May 3, 2026. Admission is FREE at The Geffen Contemporary and The Brick. Don't miss your chance to see the most-talked about exhibition this year.
For more information: moca.org
@thebrick_la
"What is a monument?" We asked this question to visitors at MONUMENTS, read some of their responses above.
MONUMENTS closes this Sunday, May 3, 2026. Admission is FREE at The Geffen Contemporary and The Brick. Don't miss your chance to see the most-talked about exhibition this year.
For more information: moca.org
@thebrick_la
"What is a monument?" We asked this question to visitors at MONUMENTS, read some of their responses above.
MONUMENTS closes this Sunday, May 3, 2026. Admission is FREE at The Geffen Contemporary and The Brick. Don't miss your chance to see the most-talked about exhibition this year.
For more information: moca.org
@thebrick_la
"What is a monument?" We asked this question to visitors at MONUMENTS, read some of their responses above.
MONUMENTS closes this Sunday, May 3, 2026. Admission is FREE at The Geffen Contemporary and The Brick. Don't miss your chance to see the most-talked about exhibition this year.
For more information: moca.org
@thebrick_la
"What is a monument?" We asked this question to visitors at MONUMENTS, read some of their responses above.
MONUMENTS closes this Sunday, May 3, 2026. Admission is FREE at The Geffen Contemporary and The Brick. Don't miss your chance to see the most-talked about exhibition this year.
For more information: moca.org
@thebrick_la
"What is a monument?" We asked this question to visitors at MONUMENTS, read some of their responses above.
MONUMENTS closes this Sunday, May 3, 2026. Admission is FREE at The Geffen Contemporary and The Brick. Don't miss your chance to see the most-talked about exhibition this year.
For more information: moca.org
@thebrick_la
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