April 2025 events calendar for Los Angeles

This spectacular exhibition from the Icelandic–Danish artist brings a new series of optical installations to MOCA’s Little Tokyo location. Don’t let the reflective, colorful pieces fool you into thinking this is some run-of-the-mill “immersive” exhibit: Olafur Eliasson’s works invite you to admire the everyday miracles of physics that shape how we see the world. The towering, mirror-lined stacks that fill the entrance of “OPEN” bring the outside in, as the warehouse-style Geffen Contemporary’s skylights create infinite spaces and mini worlds out of the sun and sky. The surprisingly analog optics behind them can be truly sublime: Gently moving water has a pair of pieces appear as shimmery landscapes, mirrors turn tubing into floating rings that trail into a black void and a simple array of pendants produce colorful flares against a screen. These aren’t pieces you’re meant to disappear into; instead, they provide a lens for the enviornment around us. You’ll need a timed ticket ($18) to see “Olafur Eliasson: OPEN.” Look for reservations on the first Friday of the month, from 5 to 8pm, for free admission.

Every Sunday, you can find dozens of food vendors at this market at ROW DTLA, a Brooklyn import that boasts a mix of much-loved pop-ups and future foodie stars. You can feast on Maine lobster from Lobsterdamus, Michoacán-style carnitas from Los Cochinitos, plant-based Mexican fare from Cena Vegan, slices from URBN Pizza, treats from Black- and Asian-owned Lei'd Cookies and much more. Wash it all down at the family-friendly beer garden. You’ll also find shopping stalls selling everything from framed vintage ads to jewelry made locally with ethically sourced gemstones. Entry and the first two hours of parking are free.

Frank Lloyd Wright’s Hollyhock House—centerpiece of Barnsdall Art Park and Los Angeles’ only UNESCO World Heritage Site—just might be the most stunning backdrop for an art exhibition. And, in this case, the home is the subject itself, too. L.A.-based photographer Ireland captured the intricate details of the Hollyhock House in 21 photographs on display throughout the onetime residence.

It’s more than just the low clearance: This exhibition at the Petersen explores the custom paint, engraving, upholstery and, of course, the gravity-defying suspension of the lowrider scene. In addition to iconic cars, the exhibit spotlights influential artists in the Chicano lowrider art scene. Even if you have no interest in cars, this colorful showcase of 20-plus lowered cars and bikes is excellent: The candy-colored paint jobs are dazzling, and the craftsmanship of the customizations—many vehicles are on display with their engines and undercarriages visible—is remarkable. You’ll learn a little bit of history here, how the “low and slow” movement is rooted in the postwar Mexican American zoot suit counterculture, but largely this is an excuse to ogle some L.A. automotive icons.

We kind of just take it for granted when we gawk at a screen, but there’s a ton of science and craft behind the use of color in film. This Academy Museum exhibition dives into just that, with more than 150 objects—cameras, costumes, props and film posters—from the 1890s to today. The show’s rainbow-sequence costume gallery—with pieces from Django Unchained, The Shining and the return of Dorothy’s ruby slippers from The Wizard of Oz—is a visual feast of recognizable cinema relics. But the most eye-catching components come in the hands-on Color Arcade, where you can splash digital paint across a screen or press into the stretchy recreation of Oskar Fischinger’s Lumigraph, a trippy illuminated instrument. “Color in Motion” is broken up into six areas: The exhibition looks at the connection between color, music and movement, like in early dance and animated shorts; decades of color technologies, from Technicolor processes and Disney’s women-led Ink & Paint Department to contemporary digital tools; tinted reels of otherwise-black-and-white silent films; the narrative role of color; and experimental works (the Color Arcade fills that sixth slot). The show debuts alongside “Cyberpunk: Envisioning Possible Futures Through Cinema,” a comparatively smaller exhibition in the museum’s central double-height gallery. On the bottom floor, you can watch a supercut of films in the genre, while upstairs features props and artwork from Blade Runner, The Terminator and Ex Machina, plus a...

L.A.’s star-studded lecture series returns—both virtually and in person—with a lineup of writers, artists, performers, scientists and business leaders who will graciously blow your mind. For both online and IRL events, you’ll often have the option of purchasing a signed copy of the speaker’s book, as well.

The Natural History Museum’s taxidermy dioramas turn a century old this year, and to celebrate the museum is reviving an entire hall of displays that’ve been dark for decades. Expect some fresh approaches to these assembled snapshots of the wilderness, including alebrijes made of recycled materials, a crystalline depiction of pollution and a tech-driven display of the L.A. River.

More than 50 works on display at the Autry showcase how indigenous artists have crafted visions of alternative futures in the face of enduring colonial trauma. The bottom-floor exhibition opens with a semicircle of high fashion, including remarkable crow attire from Cannupa Hanska Luger, which is paired with video footage from his accompanying performance piece. Star Wars plays a surprisingly large role in the vibrant show, including Andy Everson’s Northwest Coast-inspired take on stormtrooper helmets. The exhibition spills into the upstairs galleries, too, with a surreal spacescape from Wendy Red Star and a multimedia installation from Virgil Ortiz, who’s reimagined the Pueblo Revolt of 1680 through a Dune-meets-MCU film-like lens. Also, make sure to check out the museum’s other PST ART show, which opened back in May and runs through January 5, 2025; “Out of Site: Survey Science and the Hidden West” tackles everything from mining surveys to nuclear blasts in its examination of documenting and surveilling Western U.S. landscapes.

The Boy Who Lived lives on in a wizardly spectacle. As though it had cast a Shrinking Charm on itself, the formerly two-part epic is now a single show, albeit a long one—and one that our New York critic awarded five stars.

Study the technical and cultural background of colorful clay vessels, textiles, bark-paper pages and sculptures in the Indigenous Americas—and how their significance has been downplayed among colonialist histories—during this LACMA exhibition.