by Liz Goldner Oceanside Museum, Oceanside, California

by Matthew Kangas Chatwin Arts, Seattle Continuing through August 29, 2026 James Leong, “Study, Fragments in Light Ochre,” 1961, mixed media on canvas. All images courtesy of Chatwin Arts. The reputation of many well-known and accomplished artists after their death can be difficult to fathom. In the case of James Leong, who died 15 years ago at the age of 82, well-meaning efforts to ensure his legacy have come to naught. That’s not for want of trying. In this, the second show

by Matthew Kangas Nine Gallery Portland Continuing through September 26, 2026 Christopher Rauschenberg, “Untitled,” 2026, photograph. All images courtesy of the artist. The 17 untitled color photographs and photo-collages that Christopher Rauschenberg shows in “Italy 2026” are just the latest tip of the iceberg, that is, of a lifetime of photographing sites throughout the world. Focusing exclusively on Italy this year, Rauschenberg has extended his technique of mixing straigh

by Jody Zellen Lisson Gallery, Los Angeles Continuing through August 22, 2026 Spencer Finch, “Gorgeous Nothing 10, After JJ,” 2026, archival inkjet print and collage on paper, 7 1/8 x 6 1/2”. All images courtesy of Lisson Gallery, Los Angeles. In 2013 “The Gorgeous Nothing,” a facsimile edition of fifty-two poems Emily Dickinson composed on scraps of paper and discarded envelopes was published, giving readers the opportunity to encounter these handwritten creations firsthand.

by Liz Goldner California African American Museum, Los Angeles, California Continuing through October 21, 2026 Willie Birch, “Uptown Memories (A Day in the Life of the Magnolia Project),” 1995, painted papier-mâché and mixed media, 82 × 62 × 60”. Courtesy of the New Orleans Museum of Art. Photo: Roman Alokhin. The works of Willie Birch are unusual and complex examples of narrative art. His first major retrospective portray him embracing life’s varied states of mind, including

by Matthew Kangas Douglas F. Cooley Memorial Gallery, Reed College, Portland Continuing through August 15, 2026 (left) Jack Snell-Ryan, “Embassy Tower,” 2023-2026, egg carton, felt, poplar, cast urethane, acrylic paint, 25 x 21 x 9”. (right) Jack Snell-Ryan, “Framed Void (with flagpoles),” 2026, milled poplar, felt, construction remnant, acrylic paint, 28 x 36 x 25”. All photos: Mario Gallucci. All images courtesy of The Douglas F. Cooley Memorial Art Gallery. Conceptual sculp

by David S. Rubin Anat Ebgi Gallery, Los Angeles Continuing through July 18, 2026 Angela Lane, “Burning Sky,” 2025, oil on birch plywood, 10 x 7”. All images courtesy of Anat Ebgi Gallery, Los Angeles. All images courtesy of Anat Ebgi Gallery. In “Phase Shift,” an exhibition of eighteen gemlike, delicately executed small scale oil paintings, Angela Lane investigates meteorological phenomena such as solar eclipses, Northern Lights (aurora borealis), twin suns, and mirrored m

by David S. Rubin Diane Rosenstein Gallery, Los Angeles Continuing through July 11, 2026 Terran Last Gun, “Gathering of Distinguished Knowledge Holders,” 2025, ink and colored pencil on antique “The Tisch-Hine Co., Grand Gapids, Mich.” Accounting ledger sheet (dated 1924); Watermark: Waverly Ledger, 1922, 16 5/8 x 13 3/4”. All images courtesy of Diane Rosenstein Gallery, Los Angeles. As an enrolled citizen of the Piikani Nation, Santa Fe-based Indigenous artist Terran Last Gu

by Jody Zellen Craig Krull Gallery, Santa Monica Continuing through July 4, 2026 Ayin Es, “Disorderly Conduct,” 2022, oil on gesso board, 16 x 20”. All images courtesy of Craig Krull Gallery, Santa Monica. The paintings in Ayin Es’ “Relative Strangers” exhibition highlight infrequently seen components of their work. Perhaps this signals a new aesthetic direction, but they shake things up, at least, in terms of style and media. Using vintage family photographs as a point of de