Frieze Los Angeles

This dynamic composition of circles and ellipses is based on the phenomenon known as a lens flare – the rings and circles of light that appear in a camera’s lens when it is pointed towards the sun or another bright light. Resulting from the physics of the lens, flares are generally considered undesired errors. In this series of works, colorful panes of silvered, handblown glass are arranged to suggest overlapping transparent circles and ellipses. The incidental lens flare is thus transformed into a central element to be explored in all its geometrical possibilities. 

Saraceno’s work invites viewers to consider geometries and phenomena of the natural world as adaptable models for the ways we live and interact. This cluster-like sculpture is composed of a number of interconnected modules, forming constellations out of geometric structures inspired by the Weaire-Phelan model, which explores the shapes made by aggregating foam or soap bubbles. This work is also part of a larger body of suspended artworks that relate to Saraceno’s long-standing artistic inquiry—Cloud Cities—a proposal for a common imaginary habitat where humanity could live in the air, forming an ethical re-alliance with the environment, the planet and the cosmic/web of life beyond Anthropocentrism. 

Tomás Saraceno has a forthcoming solo exhibition at the Haus der Kunst, Munich, opening July 2026.

Sandra Cinto’s fine brush draws intricate navy mountains and blue clouds onto a gradient gold background. These delicate motifs appear across her works, populating her lyrical worlds. Cinto’s seemingly weightless environments hover gently between fantasy and reality, creating a luminous plane where anything is possible. Her new series of circular paintings suggest Renaissance ‘tondos’, a form favored for images of the Madonna or the filigreed halos of Byzantine icons. Rather than looking to the saints for salvation, Cinto’s tondos look to the miracle of the natural world for enlightenment.

Rodrigo Hernández's fantastical visual lexicon is rooted in a wide and distinctive range of sources: from Mexican pre-Columbian art to Japanese prints, from European modernism to science and literature. As in dreams, disparate scenes and sights are interwoven in surreal images, inviting the viewer to imagine new possibilities and uncover mysterious connections. Simmering with the emotional power of subconscious memory, Hernández’s works are suffused with the attraction of the unknown. His touchstones of poetry and philosophy frame his work within a broader epistemological and psychological exploration.

“What gives these forms so much power over our lives and longings?” — Shilpa Gupta

Gupta disassembles national flags into discrete symbols and blocks of shapes, several of which bear uncanny resemblance to one another. Like a set of wooden blocks that reminds of a Jenga game, the pieces are grouped together to create new configurations that blur or reimagine the original geopolitical relations. 

While flags are closed systems that are codified (you are not allowed to be creative with them), Gupta brings an element of open-ended-ness into this work, suggesting that they could be fluid and interchangeable. 

With an interest in forming a language through concise material abstraction, Lisa Williamson creates works that are visually precise and physically resonant. Williamson’s painted wall reliefs and sculptures convey language as a series of formal compressions — of landscape, of architecture, and of figuration. At once systematic and intuitive, Williamson tunes and calibrates material space, in that of her individual works and in their relationship to one another. 

For this body of work, Lisa Oppenheim transforms and embodies the art practice of one of the twentieth century’s most well-known photographers: Edward Steichen. Steichen was well-known as an experimental botanist, and in 1910, when French amateur botanist Fernand Denis created a new Iris hybrid he named the new flower Mons. Steichen, presumably in honor of his fellow horticultural enthusiast. No images exists of this Iris hybrid, and while it was impossible to recreate through traditional techniques, Oppenheim instead started from existing photographs of Chameiris Alba and Iberica irises and utilized advanced AI technology to produce new images of hypothetical “offspring” of the two strains. 

Oppenheim then took up the labor-intensive and now almost entirely outmoded dye transfer process, which Steichen himself also embraced. She has produced analog prints of the AI-generated images with her own color combinations, creating a huge range of possible “Mons. Steichens” that explode the concepts of both genetic and photographic verisimilitude.

Over the past decade, Math Bass has developed a lexicon of symbols—letters, bodily forms, architectural fragments, animals, bones—arranged in a variety of scores, each symbol an empty space of meaning, filled in by the context in which it finds itself. Repetition of these symbols, rather than codifying them into one solid signification, exposes the difference at the heart of each iteration; there is always a gap in meaning, something unnamable left out of and left over in the viewer’s reading—a jouissance. It is this gap in the symbolic where Lee Edelman states queerness lies—not as an easily categorized liberal identity but as a process of unmaking and undoing that leaves (gendered) subjectivity as we know it in question. That these symbols are familiar only heightens our unsettling; the negative space of these compositions, a major player in Bass’s practice, adds further to the gap.

Monica Bonvicini's use of men’s leather belts—a symbol often associated with authority and discipline—serves to critique and destabilize traditional power structures. By repurposing these everyday objects into art, she challenges viewers to reconsider the dynamics of control and submission embedded in cultural norms. Forming a dense, tangled sphere, Hanger-On #5 evokes both physical tension and psychological complexity. 

This series by Uta Barth reimagines the traditional flower still life, continuing to address themes found earlier in her work: the nature of vision and perspective, repetition and shifting viewpoints, and optical phenomena such as the flashes of color produced by staring at a fixed object in bright light. The subject matter is one frequently found throughout art history, notably in the Dutch Golden Age, when flower arrangements were used symbolically to represent the transience of life. In Barth’s photographs, she likewise highlights the fleeting vibrancy of cut flowers, incorporating other everyday objects that are taken for granted.