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A Hyperallergic guide highlights 10 art exhibitions and projects on view in Los Angeles this November, spanning historical archives, textiles, abstraction, photography and Black art history. The listings include shows at museums, commercial galleries and Hollyhock House; dates vary, and some exhibitions continue into December.
Ten art exhibitions and projects are on view across Los Angeles this November, according to a guide published by Hyperallergic. The selections include new work by April Bey, iris yirei hu and Milano Chow, a presentation of the Brockman Gallery’s legacy at LACMA, and a retrospective of photographer Todd Gray at the Brick, offering visitors a citywide look at art engaging with history, identity and memory.
The guide brings together exhibitions at museums, galleries and historic sites, with subjects ranging from the Salem Witch Trials to archival photographs and architecture. At Bel Ami in Chinatown, Isabelle Frances McGuire’s “Joy is a Puppet,” on view through November 28, includes sculpture, assemblage and an interactive video game. The game places players in the role of a woman accused of witchcraft and asks them to decide what to do next.
At Vielmetter Los Angeles, April Bey’s “All the Reasons We Never Tell Someone We Love Them…They’re Worthless” runs October 31 through December 19. Hyperallergic describes large-scale textile works incorporating fabrics such as crushed velvet and metallic brocade, with portraits made during Bey’s 2024 residency in Orange Mound, a historically Black community in Memphis. The exhibition is part of Bey’s ongoing Atlantica project, in which she adopts the persona of an extraterrestrial sending observations about human life to her home planet.
Other listed shows include Charles Arnoldi’s paintings from 2016 to 2019 at Michael Kohn Gallery and hu’s new paintings, ceramics and reliquary boxes at Official Welcome, both on view through December 19. At Hollyhock House, Chow’s “Fantasy Street” uses images from the Los Angeles Public Library’s archives to create fictional architectural scenes. The presentation is paired with “The Lifted Veil,” a selection of Deborah Turbeville photographs. The guide also points to exhibitions at LACMA and the Brick, though the supplied listing does not include their full exhibition details or dates.
Archives and Histories Across Los Angeles
The guide’s selections show how artists and institutions are using archives, historical memory and cultural inheritance as material for current exhibitions. Chow’s fictional buildings begin with library photographs of early-20th-century Los Angeles, while the LACMA presentation foregrounds the Brockman Gallery, which operated from 1967 to 1990 and supported Black artists. The Brick retrospective brings together two phases of Gray’s practice: commercial photography of musical acts and later tableaux built from archival images.
For visitors, the variety matters as much as the shared themes. The list spans established institutions and smaller venues, and includes work presented in a Frank Lloyd Wright-designed house as well as gallery spaces. It gives readers a practical way to compare exhibitions across neighborhoods and media, while drawing attention to artists and histories that may be less familiar to a broad audience.
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A November Exhibition Snapshot
The Hyperallergic selection is a time-specific guide, not a claim that these are the only shows in Los Angeles. Its listings include works with different schedules: McGuire’s show ends November 28, while Bey’s opened October 31 and continues to December 19. Arnoldi’s and hu’s exhibitions also run through December 19, and Chow’s Hollyhock House presentation is listed through December 20.
The source frames the month around artists revisiting history through archival material and unexpected juxtapositions. That thread connects otherwise distinct practices: Bey’s textiles and portraits, hu’s combination of cultural references, and Chow’s imagined buildings are not the same kind of work, but each reworks sources beyond the immediate present. The guide also identifies the Brockman Gallery’s history as a focus of a LACMA exhibition.
Dates and Listing Details to Check
The source material gives complete venue and date information for several listings but not for all 10. It names the LACMA presentation about Brockman Gallery and a Todd Gray retrospective at the Brick without supplying their full titles, schedules or other practical details. The supplied Hollyhock House description also ends before the account of “The Lifted Veil” is complete. Readers should check each venue’s current information before visiting, particularly for hours, admission, booking requirements and any schedule changes.
Interpretive descriptions in the guide, including the characterization of certain historical subjects as especially relevant to current politics, are the publication’s framing. They should not be read as independently verified findings about audience response or the artists’ intentions beyond the information provided.
Check Venues Before Visiting
The exhibitions are scheduled to remain open on different timelines through late November and December, according to the guide. Visitors can use the listed end dates to plan, then confirm current hours and access details directly with Bel Ami, Vielmetter Los Angeles, Michael Kohn Gallery, Official Welcome, Hollyhock House, LACMA and the Brick. The source material does not identify a single next event or later update for the selection.
Key Questions
Which exhibitions in the guide close during November?
Isabelle Frances McGuire’s “Joy is a Puppet” at Bel Ami is listed through November 28. The other dated listings in the source continue into December.
Where can I see April Bey’s exhibition?
“All the Reasons We Never Tell Someone We Love Them…They’re Worthless” is at Vielmetter Los Angeles, at 1700 South Santa Fe Avenue, Suite 101. The guide lists it from October 31 through December 19.
Which shows engage with Los Angeles history or archives?
Milano Chow’s “Fantasy Street” draws on the Los Angeles Public Library archives. The LACMA exhibition focuses on the Brockman Gallery, which operated from 1967 to 1990. Todd Gray’s retrospective at the Brick also uses archival images in the artist’s later tableaux, according to the guide.
Are all 10 exhibitions’ dates and details available?
No. The supplied source gives dates and venue details for several listings, but does not provide complete schedules for the LACMA and Brick exhibitions. Check with venues for current dates, hours and admission information.
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