The latest installment of Made in L.A., the Hammer Museum’s biennial exhibition highlighting artists from the greater Los Angeles area, is currently on display. This seventh iteration of the exhibition has received mixed reviews, with some critics finding it lacking in curatorial direction and overall cohesion.
One of the standout pieces in the exhibition is Hannah Hur’s “Suspension” installation. Comprised of five panels featuring intricate white lines and flower-like patterns, the installation creates a sense of spatial disorientation for viewers. The interaction between the painted panels and the gallery’s architecture adds to the immersive experience of the work.
Na Mira’s “Sugungga (Hello)” is another highlight of the exhibition. The piece references a Korean allegory and features two videos projected onto holographic glass, creating a disorienting effect that blurs the boundaries between inside and outside spaces. The work explores themes of power dynamics and complicity in systems of authority.
Gabriela Ruiz’s “Collective Scream” assemblage tackles the theme of technology and surveillance. The piece includes painted faces, a surveillance camera displaying viewers on a screen, and an LED streetlamp, highlighting the ways in which technology can manipulate and control our lives.
Other notable works in the exhibition include Amanda Ross-Ho’s oversized replicas of her father’s nursing home door, Carl Cheng’s erosion machines, and Patrick Martinez’s graffiti-inspired installation, “Battle of the City on Fire.”
Despite the strong individual works, some critics have noted a lack of a clear curatorial thesis in Made in L.A. 2025. The exhibition appears to follow a more traditional approach of showcasing established artists rather than taking risks with lesser-known talents. Moving forward, there is a call for the exhibition to push boundaries and explore new voices in the Los Angeles art scene.
Made in L.A. 2025 will be on display at the Hammer Museum until March 1, 2026. The exhibition was curated by Essence Harden and Paulina Pobocha, with Jennifer Buonocore-Nedrelow.
