Introduction: A City in Transition
Los Angeles has spent the past decade earning its place on the international art market calendar, and the private gallery sector is both the cause and the beneficiary of that shift. The arrival of Frieze Los Angeles in February 2019 marked a turning point: within a few years, major international dealers had opened permanent outposts in the city, collector networks had deepened, and a generation of homegrown galleries had found broader audiences. Yet 2025 and 2026 tell a more complicated story — one of consolidation, resilience, and selective growth against the backdrop of wildfire devastation, a soft global market, and rising operational costs.
The January 2025 wildfires that swept through portions of the city left a visible mark on the gallery community. Artists lost studios and homes. Collectors lost works. Anat Ebgi, whose gallery expanded into the former Praz-Delavallade space on Wilshire Boulevard, noted that entire collections were damaged or destroyed, including pieces earmarked for museum gifts. The fires prompted, in her words, 'a serious reassessment of preservation, storage and resilience going forward.' Yet the community responded with considerable solidarity. Jeffrey Deitch described the immediate collective response as evidence of the 'tight community we have in Los Angeles.'
Despite those pressures, Frieze Los Angeles 2026, running from 26 February to 1 March at Santa Monica Airport, assembled over 95 galleries from 22 countries — only marginally fewer than the approximately 100 that participated in 2025. Sales at the 2026 VIP preview were reported as brisk at the upper end of the market, with a mixed-media work by Njideka Akunyili Crosby reportedly placed at $2.8 million at David Zwirner's booth, and Hauser & Wirth achieving a sell-through on opening day. A 2025 Elizabeth Peyton work fetched $2.8 million at an earlier edition, while a Mark Bradford painting sold for $3.5 million at the 2023 fair. These figures reinforce the city's standing as a serious market destination rather than a secondary stop.
The broader commercial environment is more nuanced. Blum (formerly Blum & Poe) closed its Los Angeles and Tokyo operations in July 2024 — a significant departure given the gallery's deep roots in the city. Several other galleries that showed at Frieze in 2025 were absent in 2026, including Marian Goodman, Regen Projects, Bortolami, and Sean Kelly, though most continue to operate their Los Angeles spaces independently. The mid-market has contracted noticeably: dealer Chris Sharp, who recently relocated his gallery to the emerging Melrose Hill corridor, observed that works under $10,000 are moving readily while anything above that threshold requires considerably more deliberation from buyers.
Against this backdrop, a cluster of galleries has demonstrated genuine resilience, with several relocating to larger or better-positioned spaces. The Melrose Hill neighbourhood in Hollywood has emerged as the city's most coherent new gallery district, anchored by David Zwirner, Château Shatto, Morán Morán, and Chris Sharp's recently expanded programme. Around the corner sit Jeffrey Deitch, Sebastian Gladstone, and Sea View Gallery, with Matthew Brown a short walk away. This densification addresses a long-standing structural challenge: Los Angeles's sprawl has historically made it difficult for the kind of walk-in foot traffic and casual collector browsing that sustains gallery neighbourhoods in New York or London.
Gallery Profiles
Hauser & Wirth Los Angeles
Hauser & Wirth established its Los Angeles presence in 2016, converting a former flour mill in the Arts District into one of the city's most visited gallery destinations. The complex includes multiple gallery spaces, a bookshop, and the Manuela restaurant. A West Hollywood location subsequently opened, offering a second programme focused on smaller and more intimate presentations.
For 2026, the gallery's downtown space is presenting Christina Quarles: The Ground Glows Black (through 3 May 2026), a body of work that reflects the displacement Quarles experienced following the loss of her home in the January 2025 wildfires. The West Hollywood space mounted Arshile Gorky: Horizon West (21 February – 25 April 2026). Earlier in the season the downtown space showed Flora Yukhnovich: Bacchanalia (30 October 2025 – 18 January 2026) and Lee Lozano: Hard Handshake (30 October 2025 – 25 January 2026). At Frieze 2026, the gallery introduced newly represented painter Conny Maier to West Coast audiences. Hauser & Wirth was among the galleries reported to have achieved sell-through on VIP preview day at Frieze Los Angeles 2026.
Website: https://www.hauserwirth.com
David Zwirner Los Angeles
David Zwirner opened its Los Angeles outpost in the Melrose Hill area in the years following Frieze's arrival, and the gallery has become an anchor of what is now the most active gallery corridor in the city. The L.A. space operates within walking distance of several peer galleries, contributing to the neighbourhood's role as a defined destination.
For Frieze Week 2026, Zwirner opened two concurrent solo presentations: Luc Tuymans: The Fruit Basket (24 February – 4 April 2026), featuring the Belgian painter's new work, and Raymond Saunders: Notes From L.A. (24 February – 25 April 2026), a tribute to the recently deceased Los Angeles painter. At the 2026 Frieze fair, the gallery's booth was the site of the reported $2.8 million sale of a mixed-media work by Njideka Akunyili Crosby, one of the most discussed transactions of the week.
Website: https://www.davidzwirner.com
Gagosian Los Angeles
Gagosian maintains a presence in Los Angeles through its Beverly Hills location, one of the gallery's largest North American spaces. The gallery has been part of the Frieze ecosystem since the fair's inaugural Los Angeles edition and represents some of the most commercially active artists connected to the city's art history.
At Frieze Los Angeles 2026, Gagosian staged a multigenerational West Coast survey placing postwar figures including Richard Diebenkorn and Ed Ruscha alongside contemporary voices such as Lauren Halsey, Alex Israel, Jonas Wood, Mark Grotjahn, Mary Weatherford, and Chris Burden. The presentation was positioned explicitly as a meditation on Los Angeles as both subject and catalyst in contemporary art. Gagosian was among the blue-chip galleries reported to have achieved brisk early placements during the 2026 VIP preview days, consistent with its strong performance at prior editions.
Website: https://www.gagosian.com
Pace Gallery Los Angeles
Pace operates from its Mid-Wilshire location, which opened in the years following Frieze's launch in the city. The L.A. space sits in close proximity to Sprüth Magers and Perrotin along one of the city's most significant gallery thoroughfares near LACMA.
At Frieze Los Angeles 2026, Pace highlighted artists deeply connected to the city, anchoring its booth with a never-before-seen rounded-diamond installation by James Turrell alongside new paintings by Mary Corse, Friedrich Kunath, and Lauren Quin. Historical works by Lynda Benglis and David Hockney were also included. Earlier in the season, the gallery mounted the exhibition Lauren Quin: Eyelets of Alkaline (31 January – 28 March 2026) at its South La Brea space.
Website: https://www.pacegallery.com
David Kordansky Gallery
Founded in Los Angeles's Chinatown in 2003, David Kordansky Gallery relocated to Culver City in 2008 and subsequently expanded to a 20,000-square-foot facility in Mid-City, designed by architect Kulapat Yantrasast of wHY. The campus encompasses three exhibition spaces across two buildings with a landscaped courtyard, allowing for simultaneous shows, performance, film, and outdoor sculpture. A New York space in Chelsea opened subsequently. The gallery represents over fifty artists and artist estates.
For Frieze Week 2026, the gallery presented a solo exhibition by Sayre Gomez, described by the New York Times as 'a leading documentarian of the urban fabric of Los Angeles,' running through 1 March 2026. Tristan Unrau is scheduled for a solo exhibition opening in March 2026. The gallery's 2025 season included Derek Fordjour: Nightsong (13 September – 11 October 2025), which was selected by Frieze as one of the ten best exhibitions in the Americas in 2025, and Sam Gilliam: Constructions in Color, 1978–1981 (13 September – 11 October 2025). Kordansky participates in Frieze Los Angeles annually.
Website: https://www.davidkordanskygallery.com
Regen Projects
Founded in Los Angeles in 1989, Regen Projects is one of the city's most enduring commercial galleries and one of the most influential of its generation internationally. Under founder Shaun Regen, the gallery has maintained a roster of thirty-five artists across varied media, many of whom have contributed significantly to the direction of contemporary art. Its Hollywood location, on North Orange Drive, sits within one of the city's established gallery strips.
Regen Projects was not among the galleries exhibiting at Frieze Los Angeles 2026 — it was absent from the exhibitor list, having participated in 2025 — but continues to programme its Los Angeles space independently. The gallery was presenting work through January–March 2026. It remains a foundational participant in the Los Angeles gallery ecosystem and a key reference point for collectors navigating the city's programme.
Website: https://www.regenprojects.com
Marian Goodman Gallery Los Angeles
Marian Goodman opened its Los Angeles outpost in Hollywood during the post-pandemic expansion wave, joining the cluster of international galleries that used Frieze's momentum to justify permanent West Coast presences. The gallery represents a roster of internationally significant artists across all media.
For Frieze Week 2026, the gallery is presenting Tacita Dean: oh god (through 25 April 2026), a wide-ranging show drawing on films, ballet sets, costumes, drawings, and photographs. The title references the 18th-century writer Dr. Samuel Johnson, and the exhibition foregrounds Dean's commitment to the analogue image — steam locomotive windows, oxidised paint, Polaroid photographs — alongside a new tondo in blackboard and a 16mm filmic work related to Los Angeles printshop owner Sidney Felsen. The gallery was absent from the Frieze Los Angeles 2026 exhibitor list but operates independently in the city.
Website: https://www.mariangoodman.com
Lisson Gallery Los Angeles
Lisson Gallery, founded in London in 1967, opened its Los Angeles space at 1037 N. Sycamore Avenue in Hollywood as part of the post-pandemic wave of international gallery expansion. The L.A. location represents an extension of the gallery's long-standing commitment to conceptual, minimal, and post-minimal practice alongside a newer generation of artists.
The gallery presented Leiko Ikemura: Riding Horizon (24 February – 28 March 2026) during Frieze Week. Earlier in the season it mounted a survey of Colombian artist Olga de Amaral's six-decade career, tracing her practice through luminous forms interlacing linen, horsehair, Japanese paper, and precious metals. The gallery also gave Kelly Akashi her first solo show in Los Angeles — a presentation that proceeded in early 2025, one month after Akashi lost her home and studio in the January fires.
Website: https://www.lissongallery.com
Sprüth Magers Los Angeles
Founded by Monika Sprüth and Philomene Magers, Sprüth Magers operates from a space on the Miracle Mile near LACMA, inaugurated with a John Baldessari exhibition. The gallery represents an internationally significant roster with particular strengths in conceptual and media-based practices, and returned to Frieze Los Angeles 2026 after skipping the 2025 edition.
For Frieze Week 2026, the gallery presented David Salle: My Frankenstein (24 February – 18 April 2026). The gallery's return to Frieze 2026 was noted as significant, given its absence the previous year.
Website: https://www.spruethmagers.com
Perrotin Los Angeles
Perrotin opened its Los Angeles space in the Mid-City area, becoming part of the concentration of galleries near LACMA alongside Pace and Sprüth Magers. The gallery is known for representing artists with significant popular as well as critical profiles, including Takashi Murakami, Sophie Calle, and Bharti Kher.
At Frieze Los Angeles 2026, Perrotin anchored its booth with Paul Pfeiffer's Four Horsemen of the Apocalypse and Julian Charrière's Buried Sunshines Burn, alongside works by Sophie Calle, Bharti Kher, and Takashi Murakami, whose work is available from the gallery's Los Angeles space on an ongoing basis.
Website: https://www.perrotin.com
Jeffrey Deitch Los Angeles
Jeffrey Deitch, the veteran curator and dealer who formerly directed MOCA Los Angeles, opened his namesake gallery in 2018 in a 15,000-square-foot warehouse space at 925 North Orange Drive in Hollywood. The programme has been characterised by large-scale, museum-quality presentations that frequently cross into performance, film, and fashion. Deitch describes himself as needing to be in Los Angeles more than half the time for the gallery to function, a view he traces to the counsel of Irving Blum, the dean of Los Angeles art dealers.
Deitch was among those most vocal about the city's communal response to the January 2025 wildfires, while also acknowledging the ongoing difficulties of rebuilding. For Frieze Week 2026, the gallery presented programming relating to the mural artist Judith F. Braca and work connected to the SPARC public art organisation.
Website: https://www.deitch.com
Château Shatto
Founded in 2014 by Liv Barrett (now Olivia Barrett) in Downtown Los Angeles, Château Shatto has become one of the most closely watched mid-sized programmes in the city. In late 2024 the gallery relocated from its long-standing downtown space to a larger, more open premises in Melrose Hill, joining the emerging gallery corridor anchored by David Zwirner and Morán Morán. Barrett has described the move as motivated in part by the desire for greater civic density — the practical advantages of proximity to peer galleries, restaurants, and regular foot traffic that the downtown location lacked.
For Frieze Week 2026, the gallery presented Emma McIntyre: O muteness (24 February – 4 April 2026), featuring paintings by the New Zealand-born, Los Angeles-based artist that combine chemical spillages with precise brushwork. Barrett's forthcoming programme includes an exhibition focused on Western Desert painting, examining artists from the late 1990s and early 2000s such as Galya Pwerle.
Website: https://www.chateaushatto.com
Night Gallery
Founded by Davida Nemeroff, Night Gallery operates from the Arts District in Downtown Los Angeles and has consistently punched above its weight in terms of critical profile, placing emerging and mid-career artists in institutional contexts with notable regularity. The gallery has been an active participant in Frieze Los Angeles, and Nemeroff is among the long-standing independent figures who have shaped the city's homegrown gallery culture.
Recent programming includes Daniel T. Gaitor-Lomack: You Can Hate Me Now (22 November 2025 – 14 February 2026), an exhibition combining assemblage, printmaking, performance, and installation that examined endurance and spirituality through unconventional materials including a repurposed turn-of-the-century gold birdcage elevator. Night Gallery participated in Frieze Los Angeles 2026.
Website: https://www.nightgallery.ca
Vielmetter Los Angeles
Susanne Vielmetter founded her gallery in Los Angeles in 2000, making her one of the longest-serving independent gallerists in the city. The gallery, located in the Arts District, has tracked the city's art scene through cycles of growth and contraction across more than two decades, and Vielmetter's perspective is frequently sought on questions of market health and gallery sustainability.
For Frieze Week 2026, the gallery presented Rodney McMillian: Solar Eclipse (through 1 March 2026), in which McMillian used utilitarian materials including chicken wire and house paint to engage with the legacy of readymades. The work interrogated how systematic racism has permeated American domestic space through the practice of redlining and discriminatory lending. The gallery participated in Frieze Los Angeles 2026.
Website: https://www.vielmetter.com
Anat Ebgi
Anat Ebgi first opened the Company gallery in Los Angeles in 2008 before rebranding under her own name in 2012. The gallery expanded significantly in 2024 when it moved into the former Praz-Delavallade space on Wilshire Boulevard in Mid-Wilshire, giving it one of the more prominent addresses on the city's main gallery corridor. The gallery also operates a New York location, making it one of the few mid-scale Los Angeles galleries with a bicoastal presence.
For Frieze Week 2026, the gallery is presenting three concurrent shows: Alejandro García Contreras: Un Río Abrazando Una Montaña (21 February – 4 April 2026), Heather Guertin: The Radiant Edge (21 February – 4 April 2026), and Veronica Fernandez: Prey (21 February – 4 April 2026). Ebgi participated in Frieze Los Angeles 2026, where she described the fair as 'a very concentrated moment of international visibility' for the city.
Website: https://www.anatebgi.com
Commonwealth and Council
Founded in Los Angeles in 2010, Commonwealth and Council is one of the city's most respected programme-driven galleries, with a consistent record of introducing artists to wider audiences and maintaining rigorous conceptual standards across media. The gallery operates from a space in the Mid-City area and is a regular participant at Frieze Los Angeles.
For Frieze Week 2026, the gallery presented Cayetano Ferrer: Institutional Fragment Prosthesis 11 (through 14 March 2026), a sculptural series using physical remnants of LACMA's demolished original campus — rubble, rebar, and tiles. The work engaged with LACMA's institutional transformation, with the new Peter Zumthor-designed building scheduled to open in April 2026. At Frieze 2026, the gallery also presented David Alekhuogie's work as part of Pace's booth.
Website: https://www.commonwealthandcouncil.com
Various Small Fires
Various Small Fires (VSF), founded by Esther Kim Varet in 2012, maintains a presence in Los Angeles with a secondary location in Seoul. The gallery has been a consistent advocate for artists whose practices resist easy categorisation, and has introduced a number of significant careers to the art world over its fourteen-year history.
At Frieze Los Angeles 2026, VSF presented a solo booth for Southern California-based Jessie Homer French, whose six-decade practice charts the American West through symbolic landscapes of fire, memory, and ecological reckoning. The presentation was among those highlighted in pre-fair coverage.
Website: https://www.vsf.la
Sea View
Sea View was founded by Sara Lee Hantman and is among the younger galleries that have expanded despite market headwinds. Hantman, an Altadena resident, had her home seriously damaged in the Eaton Fire of January 2025. The gallery relocated within the Hollywood area, joining the concentration around Jeffrey Deitch and Sebastian Gladstone. Hantman has been publicly optimistic about the city's trajectory, describing what she termed 'a rising phoenix' even in the immediate aftermath of the fires.
Sea View made its debut at Frieze Los Angeles 2026 in the Focus section, presenting new sculptures by Zenobia Lee — an artist whose large-scale teak dominoes, discarded parasols, and iron-climbing flora engage with the legacy of colonialism in the Caribbean. The exhibition Zenobia Lee: Aluminum Domino I, II, III (through 28 March 2026) is running at the gallery's own space. The Focus section, curated by Essence Harden, is restricted to galleries in business for twelve years or fewer.
Website: https://www.seaviewgallery.com
Matthew Brown Los Angeles
Matthew Brown opened his Los Angeles gallery in 2019 and expanded the programme to New York in 2024, making him one of the younger dealers to establish a bicoastal operation in relatively short order. The gallery operates in Hollywood, near the cluster of peers along North Orange Drive and in the adjacent Melrose Hill area. Brown has been noted for a programme that balances emerging and mid-career artists with considered historical presentations.
Matthew Brown participated in Frieze Los Angeles 2026, where he was among the local galleries described as part of the 'active role' the city's home gallery community plays in the international fair.
Website: https://www.matthewbrownlosangeles.com
Chris Sharp Gallery
Chris Sharp, who previously operated from Mid-City, relocated his gallery earlier in 2025 to Melrose Hill — what he described as 'the Tribeca of L.A.' The move was motivated explicitly by the desire for foot traffic and gallery density, reflecting a broader strategic rethinking common among Los Angeles dealers. Sharp has also launched the Post-Fair satellite event at an art deco post office in Santa Monica, running alongside Frieze with a flat participation fee of $6,500 — a direct response to what Sharp characterises as the 'sharply rising costs of most art fairs.' The Post-Fair grew to 30 galleries in 2026.
For Frieze Week 2026, the gallery presented Richard Rezac (24 February – 11 April 2026), featuring the Chicago-based artist's sculptures in maple wood, plaster, and cotton — forms created with their relationship to the human body in mind. Works priced under $10,000 have been among the most active in Sharp's programme.
Website: https://www.chrissharpgallery.com
Sebastian Gladstone
Sebastian Gladstone moved his gallery to a larger space in Hollywood in autumn 2025, following an earlier expansion that included the addition of a New York location in January 2025. The gallery sits near Jeffrey Deitch and Sea View, contributing to the Hollywood cluster that has emerged as one of the city's most active gallery destinations. Gladstone has focused his programme on artists whose work is priced below $80,000, a deliberate positioning that has yielded consistent sales in a softened market.
For Frieze Week 2026, the gallery is presenting Dustin Hodges: Barley Patch II (through 28 March 2026), a sequel to an earlier New York presentation in which Hodges explores rural landscapes and cartoon silhouettes looming over pastoral settings. Gladstone plans to publish artist monographs, following the model of galleries such as Karma that invest in long-term career building.
Website: https://www.sebastiangladstone.com
Roberts Projects
Roberts Projects, founded by Mark and Jill Mezzatesta, operates from the Mid-Wilshire neighbourhood and has been an active participant in Frieze Los Angeles since its inception. The gallery has maintained a focused programme with a particular commitment to artists of African descent and to cross-generational dialogues within its roster.
The gallery presented Amoako Boafo: I Bring Home with Me (17 January – 21 March 2026), featuring new paintings by the Ghanaian-born, Vienna-based artist in an architectural re-creation of his studio in Accra, Ghana, built to scale inside the gallery space. Roberts Projects participated in Frieze Los Angeles 2026.
Website: https://www.robertsprojectsla.com
Karma Los Angeles
Karma, headquartered in New York, operates an Los Angeles location and has participated in Frieze Los Angeles with presentations that reflect the gallery's commitment to painting and works on paper, with a programme that encompasses both living artists and historical re-examination. The gallery invests significantly in publications and monographs as part of its artist development model.
For Frieze Week 2026, Karma presented two concurrent exhibitions: Milton Avery: The Figure (21 February – 28 March 2026) and Casey Bolding: Bloodstream (21 February – 28 March 2026), the latter featuring the Los Angeles-based painter. Both exhibitions are open at the gallery's Los Angeles space.
Website: https://www.karmakarma.org
Nonaka-Hill
Nonaka-Hill, which operates between Los Angeles and Kyoto, takes a relatively focused approach to its programme, working with a select number of artists in both painting and craft-based disciplines. The gallery has developed a strong identity within the Los Angeles scene by combining international Japanese artistic practices with a younger contemporary roster.
For Frieze Week 2026, the gallery is presenting Anju Michele and Ritsue Mishima: Singing Forest (21 February – 11 April 2026), a two-person show. Earlier in the season the gallery presented Koichi Enomoto: Broadcasting / Dreaming (10 January – 14 February 2026).
Website: https://www.nonaka-hill.com
Market Conditions and Sales
The Los Angeles art market occupies an increasingly complex position within the global art economy. At the very top, prices remain firm: the reported $2.8 million placement of a Njideka Akunyili Crosby work at David Zwirner's Frieze 2026 booth, and strong VIP-day sell-through at Hauser & Wirth, indicate that demand for established contemporary artists with strong institutional profiles remains solid. A Mark Bradford painting reached $3.5 million at the 2023 Frieze fair, and a 2025 Elizabeth Peyton work fetched $2.8 million at a prior edition.
The middle market tells a different story. Chris Sharp's observation that works under $10,000 move readily while anything above requires more deliberation reflects a sentiment shared across multiple galleries. Sebastian Gladstone's strategy of focusing on artists priced below $80,000 has proven effective in the current environment. The broader collector base in Los Angeles, though deepened over the past decade, remains smaller and more diffuse than in New York, and galleries that depend heavily on institutional museum buying have found that source less reliable in a period of budgetary constraint.
Several structural adaptations have emerged in response. Hannah Hoffmann merged with New York dealer Bridget Donahue in autumn 2025, citing the advantages of pooled resources for maintaining commitment to a roster of forty-three artists. Some galleries have deliberately moderated the number of works they take to fairs, concentrating financial and logistical resources on fewer but more focused presentations. The Post-Fair satellite event in Santa Monica, with its flat $6,500 participation fee, offers a lower-cost alternative for galleries priced out of conventional fair participation.
The California African American Museum Acquisition Fund returned to Frieze 2026 with $25,000 dedicated to acquiring a work by a Black American artist with California ties. The Santa Monica Art Bank Acquisition Fund and the MAC3 Collective Acquisition Fund — a joint initiative of the Hammer Museum, LACMA, and MOCA — also returned to support Southern California-based talent. These institutional acquisition funds serve both as market support mechanisms and as signals of the alignment between the gallery sector and the city's major museums.
Structural Context and Looking Ahead
The Melrose Hill corridor represents the clearest evidence of a structural shift in how commercial gallery space is distributed across Los Angeles. The voluntary migration of Château Shatto, Chris Sharp, Morán Morán, and others toward David Zwirner's established presence there suggests that the field has absorbed a lesson about the necessity of density. Whether this process continues — and whether other neighbourhoods develop comparable gravity — will partly determine the long-term health of the mid-scale gallery sector.
The pending opening of the new LACMA building, designed by Peter Zumthor, is anticipated to further energise the Wilshire corridor where Pace, Sprüth Magers, Perrotin, and Anat Ebgi are concentrated. The Lucas Museum of Narrative Art is scheduled to open in Exposition Park in September 2026, adding a major new institutional presence. The opening of Dataland, the world's first AI arts museum, in the Frank Gehry-designed Grand L.A. complex, is expected in spring 2026.
The fires of January 2025 have not curtailed gallery activity, but they have accelerated thinking about storage, insurance, resilience, and the long-term stewardship of collections. For professionals visiting Los Angeles from outside, the city rewards a visit structured around neighbourhood concentrations: Melrose Hill and Hollywood for the independent and mid-scale sector, the Wilshire strip near LACMA for the international blue-chip outposts, the Arts District for long-standing galleries including Night Gallery and Vielmetter, and the downtown cluster for institutional activity. The galleryplatform.la directory, maintained by GalleryPlatform, remains the most comprehensive online guide to current exhibitions across member galleries.
Los Angeles has not replaced New York or London as the primary centre of global art commerce, and the market adjustments of 2024–2026 have underlined that the post-pandemic expansion had elements of excess. What remains is a gallery sector of genuine depth, significant institutional support, and a collector base that — while smaller and sometimes less reliable than in other major markets — is tied to one of the world's most productive communities of artists. That underlying asset has not diminished, and it is what continues to draw dealers from around the world to make Los Angeles part of their permanent map.