10 Years LA! - Group Exhibition - Los Angeles

Since opening its doors in February 2016, Sprüth Magers’ Los Angeles gallery has featured solo and group exhibitions debuting new works from its iconic LA-based artists as well as major presentations by artists from around the world, often bringing their work to the city for the very first time.

Gallery installation with large red wall panel bearing white text proclaiming nationalist supremacy slogans, flanked by mixed artworks.

Throughout its programming, from intimate solo shows to major group exhibitions and installations, the Los Angeles gallery has maintained its commitment to presenting work that pushes the envelope of contemporary art-making and engages artistic dialogues within the city’s art scene and beyond.

Illustrating this expansive approach, 10 Years LA! fills not only the 10,000 square feet of the gallery at 5900 Wilshire Boulevard, but also extends down the street to the disused dining area of a former Sizzler restaurant at 6145 Wilshire, thus occupying both the “white cube” and one of LA’s common sights: a vacant building.

Barbara Kruger
Pledge, Will, Vow, 1988/2020 (excerpt)
Three-channel video installation, sound
5:35 min
Edition of 4 + 2 AP

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Barbara Kruger
Pledge, Will, Vow, 1988/2020 (excerpt)
Three-channel video installation, sound
5:35 min
Edition of 4 + 2 AP

Details

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On location at Sprüth Magers, artists of different generations intermingle but are loosely organized around time periods and movements that have shaped Sprüth Magers’ program. Artists who first began working in the 1960s—and who represent the wide range of artistic perspectives that developed in the postwar years in Los Angeles, New York, Europe and the UK—include, among others, Richard Artschwager, John Baldessari, Hanne Darboven, Gilbert & George, Robert Irwin, Craig Kauffman, Joseph Kosuth, Robert Morris, and Bridget Riley. Period works are installed with others created more recently, demonstrating these artists’ continued significance in the field of contemporary art.

Framed artwork showing a hand gesture against a dark seascape, captioned "A Painting by Patrick X. Nidorf O.S.A."

John Baldessari
Commissioned Painting: A Painting by Patrick X. Nidorf O.S.A., 1969
Acrylic and oil on canvas
150.5 × 115.6 cm | 59 1/4 × 45 1/2 inches
155.3 × 120 × 5.4 cm | 61 1/8 × 47 1/4 × 2 1/8 inches (framed)

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Grey octagonal sculpture with subtle gradient effects and light reflection, mounted on white wall

Craig Kauffman
Lansones, 2007
Acrylic lacquer on vacuum formed plastic
86.4 × 96.5 × 30.5 cm | 34 × 38 × 12 inches

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10 Years LA! – Group Exhibition – Los Angeles

John Baldessari
Commissioned Painting: A Painting by Patrick X. Nidorf O.S.A., 1969

Craig Kauffman
Lansones, 2007
Acrylic lacquer on vacuum formed plastic
86.4 × 96.5 × 30.5 cm | 34 × 38 × 12 inches

Craig Kauffman
Lansones, 2007

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Square canvas with grid of evenly spaced circles in purple, brown, and green on white background, minimalist dot painting.

Bridget Riley
Measure for Measure Dark 8, 2022
Acrylic on linen
92.5 × 92.5 cm | 36 3/8 × 36 3/8 inches

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Bright yellow-green fuzzy sculpture in form of exclamation mark - teardrop shape suspended above sphere on gallery floor

Richard Artschwager
Exclamation Point (Chartreuse), 2008
Plastic bristles on a mahogany core painted with latex
165 × 66 × 66 cm | 65 × 22 × 22 inches
Edition of 3

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Bridget Riley
Measure for Measure Dark 8, 2022
Acrylic on linen
92.5 × 92.5 cm | 36 3/8 × 36 3/8 inches

Bridget Riley
Measure for Measure Dark 8, 2022

Richard Artschwager
Exclamation Point (Chartreuse), 2008
Plastic bristles on a mahogany core painted with latex
165 × 66 × 66 cm | 65 × 22 × 22 inches
Edition of 3

Richard Artschwager
Exclamation Point (Chartreuse), 2008 (detail)

Richard Artschwager
Exclamation Point (Chartreuse), 2008

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Grid installation of approximately 45 framed sheets showing progressively denser graph-paper patterns, arranged across a white wall.

Hanne Darboven
Untitled, 1971
Ink and feltpen on graph paper, 61 sheets
Each: 29.7 × 21 cm | 11 3/4 × 8 1/4 inches
Each (framed): 31.3 × 22.7 × 2.5 cm | 12 1/4 × 9 × 1 inches

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Hanne Darboven
Untitled, 1971
Ink and feltpen on graph paper, 61 sheets
Each: 29.7 × 21 cm | 11 3/4 × 8 1/4 inches
Each (framed): 31.3 × 22.7 × 2.5 cm | 12 1/4 × 9 × 1 inches

Hanne Darboven
Untitled, 1971

Hanne Darboven
Untitled, 1971 (detail)

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Gallery room with yellow cross-motif painting, brown folded leather sculpture, and framed Nidorf work on opposite wall.

Large dark brown felt sheet sculpture leaning against white wall, folded at top to suggest a draped garment or torso form.

Robert Morris
Seven Reds for Georgia O’Keeffe II, 1992
Felt, steel brackets
223.5 × 210.8 × 68.6 cm | 88 × 83 × 27 inches

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Robert Morris
Seven Reds for Georgia O’Keeffe II, 1992
Felt, steel brackets
223.5 × 210.8 × 68.6 cm | 88 × 83 × 27 inches

Robert Morris
Seven Reds for Georgia O’Keeffe II, 1992

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Artists who emerged in the 1980s, including the so-called Pictures Generation, are also present through the wall vinyl by Barbara Kruger that greets visitors at the gallery entrance, as well as works by other women artists who participated in the gallery’s Eau de Cologne exhibition series and magazine (1980s–90s) that promoted powerful female artistic voices: Jenny Holzer, Kruger, Louise Lawler, Cindy Sherman, and Rosemarie Trockel among them.

Aged yellowish canvas bearing "Federal Bureau of Investigation" text above a lighter rectangular redacted-document silhouette.

Jenny Holzer
FEDERAL BUREAU OF INVESTIGATION, 2023
24k gold and red gold leaf and oil on linen
259.7 × 200.7 × 3.8 cm | 102 1/4 × 79 × 1 1/2 inches

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Black-and-white photorealistic portrait of androgynous figure in cowboy hat and dark buttoned jacket, looking downward.

Rosemarie Trockel
Blind Mother 7, 2023/26
Pigment print on paper, mounted, framed in aluminum
100 × 100 cm | 39 3/8 × 39 3/8 inches
Edition of 1 + 1 AP

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Jenny Holzer
FEDERAL BUREAU OF INVESTIGATION, 2023
24k gold and red gold leaf and oil on linen
259.7 × 200.7 × 3.8 cm | 102 1/4 × 79 × 1 1/2 inches

Jenny Holzer
FEDERAL BUREAU OF INVESTIGATION, 2023 (detail)

Jenny Holzer
FEDERAL BUREAU OF INVESTIGATION, 2023

Rosemarie Trockel
Blind Mother 7, 2023/26
Pigment print on paper, mounted, framed in aluminum
100 × 100 cm | 39 3/8 × 39 3/8 inches
Edition of 1 + 1 AP

Rosemarie Trockel
Blind Mother 7, 2023/26

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Large framed painting on red ground with fragmented abstract face-like form in blue, grey, and white with a single blue eye.

George Condo
War of the Worlds, 2026
Oil on linen
165.1 × 147.3 cm | 65 × 58 inches
168.9 × 150.8 cm | 66 1/2 × 59 3/8 inches (framed)

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Diptych painting combining a reclining figure in warm tones with a dark monochrome image of a man exhaling smoke.

David Salle
Arc Lights, 2010
Oil on linen and inkjet
162.6 × 213.4 cm | 64 × 84 inches

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Tall vertical canvas in pale pink with olive green arc at top, botanical line drawings, and faint pencilled animal sketches.

Gary Hume
Untitled, 2024
Charcoal, pastel, acrylic and satinwood on canvas, in artist frame
239 × 143.5 cm | 94 × 56 1/2 inches
244 × 148.5 cm | 96 × 58 1/2 inches (framed)

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Painters who also got their start in the 1980s, at the time of the medium’s resurgence in many international art centers, are likewise included through new and recent works by George Condo, Gary Hume, David Salle, and Andreas Schulze.

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George Condo
War of the Worlds, 2026
Oil on linen
165.1 × 147.3 cm | 65 × 58 inches
168.9 × 150.8 cm | 66 1/2 × 59 3/8 inches (framed)

George Condo
War of the Worlds, 2026 (detail)

George Condo
War of the Worlds, 2026

David Salle
Arc Lights, 2010
Oil on linen and inkjet
162.6 × 213.4 cm | 64 × 84 inches

David Salle
Arc Lights, 2010

Gary Hume
Untitled, 2024
Charcoal, pastel, acrylic and satinwood on canvas, in artist frame
239 × 143.5 cm | 94 × 56 1/2 inches
244 × 148.5 cm | 96 × 58 1/2 inches (framed)

Gary Hume
Untitled, 2024 (detail)

Gary Hume
Untitled, 2024

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Blurred close-up photograph of Jacques-Louis David's "Death of Marat" painting behind glass, slightly tilted, in a museum.

Louise Lawler
Before/During/After (Green) (adjusted to fit), 2024/2025/2026 [as adjusted for the exhibition 10 Years LA!, 2026]
Adhesive wall material
Dimensions variable to match proportions of a given wall at any scale determined by exhibitor
Edition of 1 + 1 AP

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Gallery view with blue abstract landscape, yellow fuzzy exclamation mark sculpture, large Marat photograph, and red painting.

Wide horizontal abstract painting with blurred horizontal bands of blue, violet, turquoise, and black evoking sky over water.

Sterling Ruby
SP. H. (9176), 2026
Spray paint on synthetic canvas
182.9 × 358.1 × 5.1 cm | 72 × 141 × 2 inches

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Framed graphite drawing of the word "injury" rendered in three-dimensional cursive lettering against a grey gradient background.

Ed Ruscha
Injury, 1967
Gunpowder on paper
36.2 × 57.2 cm | 14 1/4 × 22 1/2 inches
55.6 × 76.8 × 3.5 cm | 21 7/8 × 30 1/4 × 1 3/8 inches (framed)

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Sterling Ruby
SP. H. (9176), 2026
Spray paint on synthetic canvas
182.9 × 358.1 × 5.1 cm | 72 × 141 × 2 inches

Sterling Ruby
SP. H. (9176), 2026 (detail)

Sterling Ruby
SP. H. (9176), 2026

Ed Ruscha
Injury, 1967
Gunpowder on paper
36.2 × 57.2 cm | 14 1/4 × 22 1/2 inches
55.6 × 76.8 × 3.5 cm | 21 7/8 × 30 1/4 × 1 3/8 inches (framed)

Ed Ruscha
Injury, 1967

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Artists who have called Los Angeles home are well represented in 10 Years LA!, reflecting a long-term commitment to artists working in Southern California.

Arthur Jafa, Gala Porras-Kim, Jon Rafman, Sterling Ruby, and Analia Saban discuss working as an artist in Los Angeles and their different relationships to the city
Videography: Marcus Werner

When originally deciding where to open their first US location, Monika Sprüth and Philomene Magers passed over New York in favor of Los Angeles, not only for its architectural and spatial possibilities but also the proximity to their many LA-based artists, more of whom have joined the gallery since opening in 2016. New works by Sterling Ruby and Analia Saban, the West Coast premiere of Arthur Jafa’s Townshend, sculptures and installation works by Gala Porras-Kim, Stephen Prina, and Kaari Upson, are just some examples.

Square framed textile work with cobalt blue abstract brushstroke shapes stitched onto a sheer mesh ground in a copper frame.

Analia Saban
Core Memory (Fluorescent Blue) #2, 2026
Woven acrylic paint through linen on walnut
163.2 × 163.2 × 3.2 cm | 64 1/4 × 64 1/4 × 1 1/4 inches

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Analia Saban
Core Memory (Fluorescent Blue) #2, 2026
Woven acrylic paint through linen on walnut
163.2 × 163.2 × 3.2 cm | 64 1/4 × 64 1/4 × 1 1/4 inches

Analia Saban
Core Memory (Fluorescent Blue) #2, 2026 (detail)

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Black-and-white portrait photograph of a bearded man with dark curly hair in a white jacket gazing directly at the camera.

Arthur Jafa
Townshend, 2025
Video
33:46 min
Edition of 5 + 2 AP

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Arthur Jafa
Townshend, 2025
Video
33:46 min
Edition of 5 + 2 AP

Arthur Jafa
Townshend, 2025 (video still)

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Gallery installation with 3×4 grid of industrial black-and-white photos, a tall sculptural column with monitor, and a yellow cross painting.

Grid of 12 black and white photographs showing industrial processing towers and blast furnace structures

Bernd & Hilla Becher
Coal Bunkers, 1965–98
12 silver gelatin prints
Each: 40 × 30 cm | 15 3/4 × 11 7/8 inches
Each (framed): 56 × 46 cm | 22 × 18 inches
Overall: 172 × 189 cm | 67 3/4 × 74 3/8 inches

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Tall sculptural column of bundled aluminium extrusions with two embedded monitors showing fan and video footage, cables at base.

Reinhard Mucha
Ohne Titel („Calor'), [2022] 1986
Untitled ('Calor')
Video animated photographs and sound track, 4 LCD monitors, aluminium profiles, mirror glass, 4 'Calor' fans, blockboard, 5 media players, audio monitor (aktive), 4 USB flash drives, CF card, electrical cords with female and male plugs, 2 power strips, cable reel
276 × 91 × 131 cm | 108 5/8 × 35 7/8 × 51 5/8 inches

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The gallery’s very first location opened in 1983 in Cologne, and Sprüth Magers’ roots in Germany are illustrated through the work of German artists such as Reinhard Mucha, Otto Piene, David Ostrowski, Michael Pirgelis, and others. The importance of German photography, and photography in general, to Sprüth Magers’ program cannot be overstated, both in terms of artists using straight photography and those using the medium for conceptual ends. Works on view by Bernd & Hilla Becher, along with one of their Becher School students, Andreas Gursky, and another Kunstakademie Düsseldorf alum, Thomas Demand, illustrate this crucial lineage.

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Bernd & Hilla Becher
Coal Bunkers, 1965–98

Reinhard Mucha
Ohne Titel („Calor'), [2022] 1986
Untitled ('Calor') (detail)

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Framed large-scale photograph of a guitarist in sequined outfit seen from behind, facing a vast illuminated stadium crowd at night.

Andreas Gursky
Harry Styles, 2025
Inkjet print, Diasec
247.6 × 424.6 × 6.4 cm | 97 1/2 × 167 1/8 × 2 1/2 inches (framed)
Edition of 6 + 2 AP

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Interior of an indoor grow facility bathed in magenta LED light, with rows of young plants in white containers on long tables.

Thomas Demand
Nursery, 2020
C-print, Diasec
190 × 260 cm | 74 7/8 × 102 3/8 inches
Edition of 6

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Andreas Gursky
Harry Styles, 2025
Inkjet print, Diasec
247.6 × 424.6 × 6.4 cm | 97 1/2 × 167 1/8 × 2 1/2 inches (framed)
Edition of 6 + 2 AP

Andreas Gursky
Harry Styles, 2025 (detail)

Andreas Gursky
Harry Styles, 2025

Thomas Demand
Nursery, 2020
C-print, Diasec
190 × 260 cm | 74 7/8 × 102 3/8 inches
Edition of 6

Thomas Demand
Nursery, 2020

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Gallery view with large Marat photograph backdrop, yellow fuzzy exclamation mark sculpture, and oversized concert crowd photograph.

Though Sprüth Magers has always exhibited work by men and women at equal measure, its reputation as a supportive testing ground for female artists continues with artists of younger generations. An outdoor sculpture by Kara Walker occupies the gallery building’s grounds, while photography by Cao Fei and paintings by Anne Imhof and Nora Turato are on view inside, together with sculptures by Pamela Rosenkranz and Sylvie Fleury.

Immersive light installation with deep cobalt blue walls enclosing a pale blue pointed arch form glowing from within.

Pamela Rosenkranz
Alien Blue Window (500 S Buena Vista St, Menet), 2021
Lighttex, LED, anodized frame
275 × 91 × 10 cm | 108 1/4 × 35 7/8 × 4 inches

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Dark rough-textured sculptural form resembling charred organic matter placed on a black surface among lush green grasses outdoors.

Kara Walker
Invasive Species (to be placed in your native garden), 2017
Bronze
83.2 × 181.9 × 139.7 cm | 32 3/4 × 71 5/8 × 55 inches

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Pamela Rosenkranz
Alien Blue Window (500 S Buena Vista St, Menet), 2021
Lighttex, LED, anodized frame
275 × 91 × 10 cm | 108 1/4 × 35 7/8 × 4 inches

Pamela Rosenkranz
Alien Blue Window (500 S Buena Vista St, Menet), 2021

Kara Walker
Invasive Species (to be placed in your native garden), 2017
Bronze
83.2 × 181.9 × 139.7 cm | 32 3/4 × 71 5/8 × 55 inches

Kara Walker
Invasive Species (to be placed in your native garden), 2017

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Blurred black-and-white photograph of a seated figure, possibly a statue, viewed from below against a dark sky.

Anne Imhof
Poppy Runner IV, 2025
Oil on canvas
210 × 373.75 cm | 82 3/4 × 147 1/8 inches

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Collection of luxury and everyday shopping bags including Chanel, Jil Sander, and Cartier arranged on a white surface.

Sylvie Fleury
Cologne, 1991
Shopping bags with content
Dimensions variable

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Anne Imhof
Poppy Runner IV, 2025
Oil on canvas
210 × 373.75 cm | 82 3/4 × 147 1/8 inches

Anne Imhof
Poppy Runner IV, 2025 (detail)

Anne Imhof
Poppy Runner IV, 2025

Sylvie Fleury
Cologne, 1991
Shopping bags with content
Dimensions variable

Sylvie Fleury
Cologne, 1991 (detail)

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Finally, the works on view at Sizzler celebrate the gallery’s longtime commitment to artists working in film and video.

Dark immersive installation with multiple vintage CRT monitors showing varied footage alongside a glowing green "JUDGEMENT" sign.

Mixed-media work with a central photograph of a red petal and ladybird, surrounded by collaged "Dominica Publishing" tape and circuit board fragments.

Martine Syms
The Fool, 2021
Laser-cut cardboard, Orafol vinyl with permanent adhesive and tape; digital video, color, with sound, 4:11 min, looped
77.5 × 125.7 × 15.2 cm | 30 1/2 × 49 1/2 × 6 inches
Edition of 5 + 1 AP

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Grainy vintage photograph of a white Ford sedan's front grille with red text "The Desert People" overlaid, California plate 362 JGL.

David Lamelas
The Desert People, 1974
16mm, sound, color
45 min
Edition of 5 + 2 AP

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Video still of a person standing beside a dry shrub in a sparse gravel yard bordered by a concrete block wall and suburban homes.

Kaari Upson
In Search of the Perfect Double, 2016
Video, color, with sound
36:18 min
Edition of 3 + 2 AP

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Throughout the restaurant’s dining area, including at its booths, around the salad bar, and on the dining room walls, monitors of various scales and configurations encourage visitors to sit down in an intimate setting to take in works from the 1960s to the present by Kenneth Anger, Nancy Holt, Jon Rafman, Martine Syms, Ryan Trecartin, Andrea Zittel, and many others.

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Martine Syms
The Fool, 2021

David Lamelas
The Desert People, 1974
16mm, sound, color
45 min
Edition of 5 + 2 AP

Kaari Upson
In Search of the Perfect Double, 2016
Video, color, with sound
36:18 min
Edition of 3 + 2 AP

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Jon Rafman
Kool-Aid Man in Second Life (Supercut), 2020 (excerpt)
Single-channel video
32:08 min
Edition of 3 + 2 AP

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Jon Rafman
Kool-Aid Man in Second Life (Supercut), 2020 (excerpt)
Single-channel video
32:08 min
Edition of 3 + 2 AP

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With the opening of LACMA’s Peter Zumthor-designed David Geffen Galleries directly across Wilshire Boulevard, as well as the Academy Museum, Peterson Automotive Museum, Craft Contemporary, La Brea Tar Pits, and the brand new Wilshire/Fairfax Metro station, Sprüth Magers is uniquely positioned to participate in an a new chapter for the mid-Wilshire corridor, and LA more widely. Not only does 10 Years LA! celebrate the remarkable diversity of approaches and discourses engaged by the gallery’s artists, it offers space to consider the trajectory of the growing art community in Los Angeles, both in the past decade and into the future.

Find the list of all works presented in the exhibition here.