10 Years LA! At Sprüth Magers introduces a reminder of the efforts at immortality represented to the conscious lens in contemporary art history. From the blaring to the reticent, there is the optical impression of uniqueness.

‘Exclamation Point (Chartreuse)’, 2008. Richard Artschwager.
Plastic bristles on a mahogany core painted with latex
165 × 66 × 66 cm | 65 × 22 × 22 inches. Courtesy the artist and Sprüth Magers. Copyright All Rights Reserved.

Most found for myself is the adorable excalamation point, Exclamation Point (Chartreuse) by Richard Artschwager. So sensitive to the palette and scale appears a refinement in sensation with a healthy brightness which I sincerely hope the artist was intending for. Such a production will find its place affirming the morning day at the workspace.

‘Inaugural Fantasia’, 2025. Kara Walker.
Watercolor and sumi-e ink on cut paper on paper
198.1 × 480 cm | 78 × 189 inches
210.5 × 497.5 cm | 82 7/8 × 195 7/8 inches (framed). Courtesy the artist and Sprüth Magers. Copyright All Rights Reserved.

‘Tituba’s Handmaidens’, 2025. Kara Walker.
Watercolor and sumi-e ink on cut paper on paper
199.4 × 307 cm | 78 1/2 × 120 7/8 inches
208 × 316.5 cm | 82 × 124 5/8 inches (framed). Courtesy the artist and Sprüth Magers. Copyright All Rights Reserved.

Otherwise inoffensive while retaining the rightful aim of beauty amidst the hostilities of commercial fervor is Inaugural Fantasia (2025) by Kara Walker.  Its rectilenal depth is most enjoyable, for affirming the pacifistic and humanistic. Neutral tones don’t stir or stress the incumbent nor future tenant with nonsense. The, further, planar view quasi-mosaically tiles the brown anatomies onto that occupation of space which is balanced even in transportation – why fill the room with more coke bottles?

‘Untitled (my people are better than your people)’, 1994/2026. Barbar Kruger. Digital print on vinyl wallpaper. Courtesy the artist and Spüth Magers. Copyright All Rights Reserved.

This brazen, libertine, confidence in expression is enjoyed with the jostling countenance of the prima facie absurd with Untitled (my people are better than your people) by Barbara Kruger. A knowing what is good by affirming what is not; conscious beyond the stupor of the sensations, for its enjoyment requires that elevation of the intellect, towards an extended completeness in understanding the significance of what is good: A life selfless demonstrates true goodness.

For more information, please contact the gallery:

Sprüth Magers
5900 Wilshire Boulevard
Los Angeles, CA 90036
+1 323/634 0600
info@spruethmagers.com

Tue–Sat, 11am–6pm
and by appointment