The Cars of Los Angeles

Carlos Agredano (b. 1998, Los Angeles, CA) lives and works between Los Angeles and New York City. He received his MFA from University of California, Los Angeles, in 2023, and was a 2025 – 2026 Hodder Fellow at Princeton University. His work has been presented in numerous exhibitions including Exhibition House, Frankfurt Ordorica, Los Angeles (2026); Second Body, David Kordansky Gallery, Los Angeles (2025); Fume, Los Angeles Nomadic Division (2025); Smog Check, Human Resources, Los Angeles (2023); Strong Winds Ahead, François Ghebaly, Los Angeles (2023); and In Practice: You may go, but this will bring you back, Sculpture Center, New York (2021).

Merlin Carpenter (b. 1967, Pembury, UK) lives and works between Shepperton, London, and Berlin. Carpenter’s work has been the subject of numerous solo exhibitions and projects, including Stress Busters, Kunstraum Schwaz (2024);archive élastique, Centre d’Art Contemporain – La synagogue de Delme (2020); MIDCAREER PAINTINGS, Kunsthalle Bern (2015); Poor Leatherette, MD72, Berlin (2015); Formalist Sidewalk Poetry Club, Formalist Sidewalk Poetry Club, Miami (2010); Children of the Projects, American Fine Arts, Co., New York (2003); and As a Painter I Call Myself the Estate of, Secession, Vienna (2000). His work is in major private and public collections including the Museum of Contemporary Art, Los Angeles; Centre Georges Pompidou, Paris; and The British Council, London.

Fiona Connor (b. 1981, Tāmaki Makaurau, Auckland, New Zealand) lives and works in Los Angeles. Vital, recurring concerns in her practice include the social and psychological life of the object, the politics of camouflage and mimesis, and the ethics and aesthetics of the built environment. She holds an MFA from California Institute of the Arts (2011), a BA from University of California, San Diego (2008), and a BFA from University of Auckland’s Elam School of Fine Arts (2004). Recent solo exhibitions include Hereditary, 100 Bell Towers, Montreal (2024); Drawing something under itself, Kunstverein für die Rheinlande und Westfalen, Düsseldorf (2023); Continuous Sidewalk, Château Shatto, Los Angeles (2023); Long Distance, Maureen Paley, London (2022); #4, Closed for installation, Sculpture Center, New York (2019); #8, Closed for Installation, Sequence of Events, Secession, Vienna (2019); and Closed Down Clubs, MAK Center for Art and Architecture, Los Angeles (2018). Connor’s work is held in numerous public collections, including Adam Art Gallery, Victoria University, Wellington; Auckland Art Gallery; Australia Art Gallery of New South Wales, Sydney; Berkeley Art Museum and Pacific Film Archive; Christchurch Art Gallery Te Puna o Waiwhetū; Collezione La Gaia, Turin; Dunedin Public Art Gallery; Govett-Brewster Art Gallery, New Plymouth; Hammer Museum, Los Angeles; Henry Art Gallery, University of Washington, Seattle; Los Angeles County Museum of Art; Monash University Museum of Art, Melbourne; Museum of Contemporary Art, Los Angeles; and Museum of New Zealand Te Papa Tongarewa, Wellington. Connor is currently Assistant Professor of Art at University of California, Riverside.

Sylvie Fleury (b. 1961, Geneva, Switzerland) lives and works in Geneva. Selected solo exhibitions include Sylvie Fleury. “Thunderb”, Mrac Occitanie, Sérignan (2025); Museum der Moderne Salzburg (2025); Yes to All, Kunsthal Rotterdam (2024); Kunstmuseum Winterthur (2023); Turn Me On, Pinacoteca Agnelli, Turin (2022); Double Positive, Bechtler Stiftung, Uster (2022); Kunstraum Dornbirn (2019); Chaussures italiennes, Instituto Svizzero, Rome (2019); My Life on the Road, Villa Stuck, Munich (2016); Centro de Arte Contemporaneo, Málaga (2011); Paillettes et Dépendances ou la fascination du néant, Musée d’Art moderne et contemporain Genève (2008–2009); Ich möchte alles haben, was gut, ächt und schön ist!, Mozarteum Salzburg (2006); 49000, ZkM | Museum für Neue Kunst, Karlsruhe (2001); Le Magasin – Centre national d’Art Contemporain à Grenoble (2001); and The Museum of Contemporary Art Chicago (1995). Selected group exhibitions include Performa Biennial, New York (2025); Muzeum Sztuki Nowoczesnej / Museum of Modern Art, Warsaw (2025); National Museum of Modern Art, Kyoto (2024); Aspen Art Museum (2024); Kunsthaus Zürich (2023); Monnaie de Paris (2023); Migros Museum für Gegenwartskunst, Zürich (2022/2013); Jeu de Paume, Paris (2020); Grand Palais, Paris (2019); Kunsthaus Zürich (2018); Museum Angewandte Kunst, Frankfurt am Main (2017);  Museum Haus Konstruktiv, Zürich (2016); Belvedere, Vienna (2012); Städtische Galerie im Lenbachhaus, Munich (2010); Chelsea Art Museum, New York (2007); P.S.1, New York (2006); Collection Lambert, Avignon (2003); and Museum Ludwig, Cologne (2000). Fleury’s work is included in the collections of CAPC Musée d’art Contemporain de Bordeaux; Centre d’Art Contemporain, Geneva; Centre Georges Pompidou, Paris; Centro de Arte Contemporaneo, Málaga; Kunst Museum, St. Gallen; Musée d’Art Moderne et Contemporain, Genève; Museum der Moderne, Salzburg; and The Museum of Modern Art, New York, among others.

Max Göran (b. 1987, Furudal, Sweden) is an artist filmmaker who lives and works between Berlin and Sweden. She was a 2025 artist-in residence at Can Serrat, El Bruc. Solo and two-person exhibitions include brave and pathetic is better than drowning in shame, Cell Project Space, London (2023 – 2024); Taste & Discernment, Ceradon, Los Angeles (2024); and Assholes Live Forever, Jenny’s, Los Angeles (2019). Göran’s work has been presented in numerous group exhibitions such as CPH:DOX, Copenhagen (2026, 2024, 2023); the 15th Kaunas Biennial (2025); the 7th Edition of the Athens Biennale (2021); New Contemporaries, London (2021); Galerie Neu (2023); Kasseler Dokfest, Kassel (2023); Kunstverein München (2020); and European Media Art Festival, Osnabrück (2018).

Jason Hirata (b. 1986, Seattle, WA) lives and works in New Jersey. He received his BFA in 2009 from the University of Washington, Seattle. Hirata has been the subject of solo and two-person presentations including Dà a chi avaregia, Fanta-MLN, Milan (2024); Werkgelegenheid / Interruptions & Coincidence, Billytown, The Hague (with Magnus Frederik Clausen, 2023); Minutes, Ulrik, New York (2022); Nap, Paid, Seattle (2022); Plot, Theta, NYC, New York (with Tony Chrenka, 2021); and From Now in Then, Fanta-MLN, Milan (2021). Recent group exhibitions include Carnegie Museum of Art, Pittsburgh (2026 – 2027); Hessel Museum of Art, New York (with Ghislaine Leung and Robert Barry, 2025); Regards, Chicago (2023); Simian, Copenhagen (2023); Museum of Modern and Contemporary Art, Bolzano (2023); Baader-Meinhof, Omaha (2022); The Wig, Berlin (2022); Bonner Kunstverein, Bonn (2022); Château Shatto, Los Angeles (2021); DREI, Mönchengladbach (2021); Kunstverein Kevin Space, Vienna (2020); 80WSE, New York (2020); Kunstverein Nürnberg (2019); Kai Matsumiya, New York (2019); and Joan, Los Angeles (2017).

Alan Michael (b. 1967, Glasgow, Scotland) lives and works in London. Solo and two-person exhibitions of Michael’s work have been presented at Jan Kaps, Cologne (2023); Jenny’s, New York (2022); Halle fur Kunst, Lüneburg (2021); High Art, Paris (2021); Cell Projects, London (2018); Zero, Milan (2015); Tramway, Glasgow (2014); Artists Institute, New York (2013); David Kordansky Gallery, Los Angeles (2011); Siakos Hanappe, Athens (2011); Galerie Micky Schubert, Berlin (2009); Schürmann, Berlin (2008); Tate Britain, London (2008); Talbot Rice Gallery, Edinburgh (2008); Modern Art, London (2005); Sorcha Dallas, Glasgow (2005); HOTEL, London (2003); Entwistle, London (2002); Transmission Gallery, Glasgow (2000); and Collective Gallery, Edinburgh (1999). Michael’s work has been featured in recent group exhibitions including Not With Symbols, Bodenrader, Chicago (2026); Fanta-MLN, Milan (2025); ten thousand ugly inkblots, Schiefe Zähne, Berlin (2025); and Image of the City, Part 1 | Peter Cain, Josey, Cologne (2025).

Josephine Pryde (b. 1967, Alnwick, England) lives in Berlin. She is Professor of Photography at Kunstakademie Düsseldorf. Recent solo exhibitions of Pryde’s work include Tiny Phones, Birkenstraße 149, Düsseldorf (2026); How Frequency The Eye, Haus am Waldsee, Berlin (2024); The Splits, Centre d’Art Contemporain – La synagogue de Delme (2023 – 2024); The Vibrating Slab, Art Institute of Chicago (2022); Club Med, Soccer Club Club, Chicago (2022); Taylor Swift’s ‘Lover’ & The Gastric Flu, Reena Spaulings Fine Art, New York (2022); The Flight That Moved Them, Gandt, New York (2021); and Exterior, Night, Day, Galerie Neu, Berlin (2020). Her work was also included in Kim Gordon for Design Office Feat. In-House Photography by Josephine Pryde, Museum im Bellpark, Kriens (2022). Pryde has been featured in numerous group exhibitions, most recently at Reena Spaulings Fine Art, New York (2026); Fanta-MLN, Milan (2026); Institut Funder Bakke, Silkeborg (2025); Hamburger Kunsthalle, Hamburg (2025); Centraal Museum, Utrecht (2026) & Museum of Modern and Contemporary Art, Bolzano (2025); MO.CO. – Montpellier Contemporain, Montpellier (2025); FRAC Lorraine, Metz (2024); The Wig at Bonner Kunstverein, Bonn (2022); Kunsthal Charlottenborg, Copenhagen (2022) & Mudam Luxembourg (2021); and mumok – Museum moderner Kunst Stiftung Ludwig Wien (2022). Pryde’s work is in the collections of The Art Institute of Chicago; The British Council, London; Fonds National d’Art Contemporain, France; Kunstmuseum Bern; The Metropolitan Museum of Art, New York; Museum of Contemporary Art, Los Angeles; The Museum of Modern Art, New York; and Stedelijk Museum, Amsterdam.

Ed Ruscha (b. 1937, Omaha, NE) lives and works in Los Angeles. Ruscha’s career spans more than six decades, and his practice comprises artist’s books, drawings, films, paintings, photographs, and prints. A critical figure in the Pop Art and Conceptual Art movements, Ruscha was recently the subject of a major museum retrospective, entitled ED RUSCHA / NOW THEN, which opened at The Museum of Modern Art, New York (2023 – 2024), and traveled to the Los Angeles County Museum of Art (2024). Prior solo exhibitions include Oklahoma Contemporary, Oklahoma City (2021); Blanton Museum of Art, Austin (2020); Secession, Vienna (2019); National Gallery, London (2018); Louisiana Museum of Modern Art, Humlebaek (2018), traveled to KODE Art Museum, Bergen (2018); Hayward Museum, London (2009); Museo Nacional Centro de Arte Reina Sofia, Madrid (2001); Hirshhorn Museum and Sculpture Garden, Washington, D.C. (2000); Centre Georges Pompidou, Paris (1989); and the San Francisco Museum of Modern Art (1983), among others. Landmark group exhibitions include the 51st Venice Biennale (2005), where Ruscha represented the United States, and New Painting of Common Objects at the Pasadena Art Museum (1962), the first survey of American Pop Art in the United States. Ruscha’s work is included in the collections of The Art Institute of Chicago; Centre Georges Pompidou, Paris; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Los Angeles County Museum of Art; Metropolitan Museum of Art, New York; The Museum of Contemporary Art, Los Angeles; Museum of Fine Arts, Boston; The Museum of Modern Art, New York; National Gallery of Art, Washington, D.C; San Francisco Museum of Modern Art; Stedelijk Museum, Amsterdam; Tate Gallery, London; Walker Art Center, Minneapolis; and The Whitney Museum of American Art, New York.

Lucien Samaha (b. 1958, Beirut, Lebanon) is a photographer based in New York. He has been photographing his life since he took one of the first photography courses offered in a high school curriculum in 1975. Samaha’s work has been presented in A Day in the Life of the Lilac Festival, The Wig, Berlin (2024); The Price of Gas & First Digitals, Schiefe Zähne, Berlin (2024); A History of Digital Photography, Pioneer Works, New York (2019 – 2020); The Flight Attendant Years: 1978 – 1986, Lombard Freid Gallery, New York (2013); The Searchers, Feldman Gallery, Pacific Northwest College of Art, Portland, OR (2008); I Want to Show You Somewhere, Cooley Gallery, Reed College, Portland, OR (2006); Good is What Pleases, Museum für Moderne Kunst, Frankfurt (2006); Warm Up 2, P.S.1, New York (1999); Warm Up, P.S.1, New York (1998); Overpromised, Technosophia 1, Swiss Institute, New York (1998); and Color Diptychs – The 2nd Tokyo International Photo-Biennale, Tokyo Metropolitan Museum of Photography (1997). Samaha is a founding member of the Arab Image Foundation and was a finalist for the 2004 Nam June Paik Award. After his time as a flight attendant at TWA, Samaha worked as a marketing manager for Eastman Kodak Company, and then as a DJ on the 107th floor of the World Trade Center, continuing to document his hours at work and his personal life.

Nicole-Antonia Spagnola (b. 1991, Los Angeles, CA) lives and works in Los Angeles. Recent solo and two-person exhibitions include The first person, Felix Gaudlitz, Vienna (2026); Commercial Street, Los Angeles (2025); Street Nuisance, Kunstverein München (2024); Artists under the big Lid, Ivory Tars, Glasgow (2024); The Amateur, Felix Gaudlitz, Vienna (2023); Slow Dance (4), Stadtgalerie Bern (with Richard Sides, 2023); Ragged Dick, The Wig, Berlin (2023); Life Live, Reena Spaulings Fine Art, New York (with Bedros Yeretzian and Morag Keil, 2023); Your Friend, 100 Bell Towers, Montreal (2022); Anti-Genesis, Artists Space, New York (2022); and Pig Kingdom Come, Full Haus, Los Angeles (with Bedros Yeretzian, 2017). Recent group exhibitions include Kunstforum Baloise Park, Basel (2026); Hammer Museum, Los Angeles (2025); The Wig, Berlin (2024); Reena Spaulings Fine Art & Galerie Hussenot, Paris (2024); Sgomento Zurigo, Zürich (2024); Ivory Tars, Glasgow (2024); 3236RLS, London (2024); Bel Ami, Los Angeles (2024); Felix Gaudlitz, Milan (2024); and Galerie Neu, Berlin (2023).

Angharad Williams (b. Ynys Cybi) is an artist based in Wales and Berlin. She has been the subject of numerous solo exhibitions, including Portrait, Fondazione Sandretto Re Rebaudengo, Turin (2025 – 2026); What are we in now??, KIN, Brussels (2025); The Bottom Dogs ll, Simian, Copenhagen (2025); Berlin Straße, Schiefe Zähne, Berlin (2024); NEW TECHNOLOGY, Fanta-MLN, Milan (2023); Picture the Others, Mostyn, Llandudno (2022); Eraser, Kunstverein für die Rheinlande und Westfalen, Düsseldorf (2022); and High Horse, Kunstverein Kevin Space, Vienna (2021). Williams was a participant in the 2025 Edition of the Okayama Art Summit: The Parks of Aomame, curated by Philippe Parreno. She has participated in numerous group exhibitions at prestigious institutions and galleries including Kölnischer Kunstverein, Köln (2026); Mudam, Luxembourg (2026); Z33, Hasselt (2026); Bechtler Stiftung, Uster (2025); Museo Madre, Naples (2024); The Wig, Berlin (2024); and Reena Spaulings Fine Art, New York (2023). Her solo performances have been presented at Haus am Waldsee, Berlin (2025); Sadie Coles HQ, London (2024); and Zunsthalle Zürich (2023). Eraser, Williams’s first book of fiction, was published by After8 Books, Paris, and Kunstverein Düsseldorf in 2023. In 2025, Williams released Now Watch This Drive, a limited 12” vinyl, with Concentric Group, London, and the Bauhaus Foundation, Dessau.