Luis De Jesus Los Angeles is very pleased to announce the acquisition of Hugo Crosthwaite’s painting, Mujer Toma Culebra (2024) by The National Gallery of Art in Washington, D.C. We extend our sincere gratitude to E. Carmen Ramos, Chief Curator, and the acquisitions committee. Mujer Toma Culebra, translating as "Woman-Takes-Snake" or "Woman-Grabs-Snake," is part of Crothwaite’s Tijuanacolor series, a vibrant collection of large-scale paintings that marked a major departure from his signature black-and-white style. The paintings directly borrow the narrative structure of Mexican folk ex-votos to honor the true stories, trials, and resilience of everyday border residents. His subject matter elevates real Tijuana migrants, street vendors, and working-class citizens into modern-day saints who persevere through collapsing social systems.

August 27, 2026 – July 11, 2027
Turn the volume up! examines how artists, activists, and everyday people have used their voices to challenge injustice, build communities, and shape public life, inviting visitors to consider how we might do the same. Open during the United States’ 250th anniversary, the exhibition situates these stories within the broader history of American democracy, highlighting how speaking out, documenting events, organizing movements, and creating art can galvanize collective action.

August 19 – December 20, 2026
Past, Present, Futures explores how the artists Samuel Bak, April Bey, Ken Gonzales-Day, Jeannette Ehlers, Letitia Huckaby, Harmonia Rosales, and Shawn Theodore play with the traditions of European portraiture to center other histories, reveal the role art and art history have played in the formation of historical narratives, and celebrate the resurgence of culture after oppression.

Luis De Jesus Los Angeles is delighted to announce the acquisition of two photographs from Ken Gonzales-Day's Memento Mori series by the Santa Barbara Museum of Art. The Memento Mori series (2001-2006) uses contemporary portraiture to create a visual language for the forgotten history of racialized violence and lynching in California. While traditional American history often mischaracterizes frontier hangings as race-neutral vigilante justice, Gonzales-Day's research proved that Latine, Asian, and Native American individuals were heavily targeted. Because historical photographs of the victims are rare or deeply dehumanizing, he photographed contemporary young men from his own community. These models act as stand-ins for the historical victims, who were frequently young men between the ages of 16 and 22.

Luis De Jesus Los Angeles is pleased to announce a major acquisition of photographs by Ken Gonzales-Day by the Yale University Beinecke Rare Book and Manuscript Library. This acquisition marks the largest accession by an institution of the artist's Erased Lynchings photographs, and includes the complete series of five distinct sets (Erased Lynchings I-V) encompassing a total of 75 unique prints created from images collected by the artist over 25 years. The Erased Lynching series (2002-ongoing) is a conceptual photographic project created by Ken Gonzales-Day to address the history of lynching in this country, which has historically erased or diminished the impact of lynching on Mexican, Latin American, Native American, Asian, and other immigrant communities in California and across the nation.

September 18 – December 11, 2026
El Marsam: Modern and Contemporary Art from Egypt explores the origins and evolution of the Egyptian modern art movement and its lasting influence on contemporary artistic practice in Egypt and across the Egyptian diaspora today. The exhibition, curated by Heba El Kayal, takes its title from the Arabic word for “studio” — marsam — now favored over the French “atelier,” though the two terms were once used interchangeably. This linguistic shift mirrors the development of modern Egyptian art itself: a movement shaped through dialogue between international modernist currents and local traditions, subjects, and aesthetics. At its heart, the exhibition pays homage to the studio as a site of creation and exchange between artists of different generations. 

July 11, 2026 – June 6, 2027
Edra Soto's video Happy Hour, La Hora Feliz (2020) is on view in Imagining an Archipelago: Art from Cuba, Guam, the Philippines, Puerto Rico, and Their Diasporas at the Colby College Museum of Art, an exhibition connecting generations across oceans exploring artists' relationships to the histories and communities of their lands and seas. In Soto's video, which was produced in collaboration with Jose Luis Benavides, John H. Guevara, and Sadie Woods, the artist prepares hors d'oeuvres and cocktails to the soundtrack of upbeat salsa music and reggaetón. While Soto upends cans of SPAM and Cheez Whiz into a blender, scrolling text beneath the action provides an explanation for Puerto Rico's agricultural decline and reliance on imported, ultra-processed food from the United States common in the everyday Puerto Rican diet, served up alongside music history trivia.

June 27 – November 29, 2026
Sherin Guirguis’ sculpture, Mashrabiya (2009) will be on view in the recently opened Hossein Afshar Galleries for Art of the Islamic Worlds at the Museum of Fine Arts, Houston. In traditional Arabic and Islamic architecture, the mashrabiya is an intricate, latticed wooden window screen designed to let in air and light while shielding women in the domestic sphere from the public gaze. For Guirguis, the mashrabiya serves as a vital conceptual metaphor and formal device to explore intersectional feminism, cultural displacement, and the boundaries between public and private space. Guirguis replicates mashrabiya latticework to highlight the "visible absence" of the female body in public history. By carving these patterns into her art, she converts a mechanism of domestic confinement into an active site of feminist critique.

Luis De Jesus Los Angeles is very pleased to announce the acquisition of Edra Soto's Screenhouse (2019) by the McNay Art Museum in San Antonio, TX. The gallery extends its sincere thanks to Mia Lopez, curator of Latinx art at the McNay Art Museum, for shepherding this acquisition. We also appreciate the support of Rene Paul Barilleaux, former Head of Curatorial Affairs, and Dan Sullivan / Navillus Woodworks in Chicago. The acquisition of Screenhouse was made possible in part by funds supporting American art, underscoring the Museum’s commitment to expanding the narrative of American art to include Latinx art.

Inspired by the concept of moving both body and mind, and by the station itself as an excavation site, Ken Gonzales-Day’s glass photo murals, Urban Excavation, bring riders on a journey across time and continents. Larger-than-life images of works from LACMA’s collection create an immersive environment that blurs the line between past and present and encourages viewers to think about museum collections and their connections to the outside world in unexpected ways. (Photo: LA Metro)

May 28, 2026 – May 23, 2027
The exhibition This Is America: Selections from PAMM’s Collection marks the 250th anniversary of the United States Declaration of Independence through artworks drawn from the museum's permanent collection. Curated by Associate Curator Maritza M. Lacayo, the exhibition presents a multiplicity of perspectives on American history and identity. Reflecting on both somber and triumphant historical events, the works in This Is America frame the nation’s 250th anniversary as a moment not only for commemoration and celebration, but also for rumination.

May 1 – December 31, 2026
Since presenting her first solo exhibition at MAPR thirty years ago, Edra Soto has developed an artistic career centered on works that “trace the intimate value of working-class residential architecture, highlighting its decorative motifs as symbols of memory and resilience.” The works in El Lugar de la Morada [The Place of Dwelling] examine a heritage often relegated by official discourses, dominant narratives, and the social structures that have defined the country’s cultural history. This exhibition was developed under the guidance of the museum's Chief Curator, Juan Carlos López Quintero, and Executive Director, Dr. María Cristina Gaztambide.

February 27, 2026 – January 10, 2027
Améfrica: Diasporic Connections in the Collection of Jorge M. Pérez brings together artists from different parts of the American and African continents based on their resonances, shared references, related practices, mutual inspirations, continuities of research, and generational and ancestral transmissions that connect the shores of the Atlantic with a vivacity that is sometimes visible and at other times hidden. 

February 27, 2026 – January 10, 2027
Améfrica: Diasporic Connections in the Collection of Jorge M. Pérez brings together artists from different parts of the American and African continents based on their resonances, shared references, related practices, mutual inspirations, continuities of research, and generational and ancestral transmissions that connect the shores of the Atlantic with a vivacity that is sometimes visible and at other times hidden. 

The Studio Museum in Harlem has announced the participants for its 2026 Artist-in-Residence program. They are Derriann Pharr, Simonette Quamina, and Taylor Simmons. Pharr, Quamina, and Simmons will be in residence from March 15 until October 15 of this year. Funded by the Glenstone Foundation, the residency culminates in an exhibition, with an accompanying publication, at the Studio Museum. Additionally, residents receive institutional and material support, professional development guidance, and access to the wider Studio Museum community, from its curators to past residents.

Luis De Jesus Los Angeles is grateful to Dena M. Woodall, Curator of Prints and Drawings at The Museum of Fine Arts, Houston, and patron Michael W. Dale for making the acquisition of these two early surreal collages "Untitled 12-25-1941" AND "Military Maneuvers in a Georgia Swamp" by Nathan Gluck possible. Museum purchase funded by the Michael W. Dale Acquisition Fund. Courtesy the Estate of Nathan Gluck.

Luis De Jesus Los Angeles is very pleased to announce the acquisition of an early surreal collage "Untitled, 12-25-1941" by Nathan Gluck by The Menil Drawing Institute in Houston, TX. We extend our most sincere thanks to Edouard Kopp, Chief Curator of the Menil Drawing Institute, and the curatorial team at The Menil Collection for making this acquisitions possible. Courtesy the Estate of Nathan Gluck.

Luis De Jesus Los Angeles is pleased to announced the acquistion of Chris Engman's "PAPER III" by the J. Paul Getty Museum. In this work by Chris Engman, the objectness of the material upon which photographic images are printed is brought into focus. We are used to looking through the surface of photographic prints at the illusion of space that they create. In this case, the viewer is doing exactly that, and to a heightened degree, while simultaneously looking at an image of a thing that is doing something very different: the paper within the paper is asserting itself as an object of its own right, whose qualities have relevance, whose existence has implications. 

Luis De Jesus Los Angeles is very pleased to announce The Latinx Project has selected Karla Diaz as the 2025-26 Artist-in-Residence.

The Latinx Project at New York University explores and promotes U.S. Latinx Art, Culture and Scholarship through creative and interdisciplinary programs. The 2025-26 Artist-in-residence program is made possible with support from the Mellon Foundation and the Rockefeller Brothers Fund. 

Luis De Jesus Los Angeles is pleased to announce the acquisition of Mimi Smith's "Electiong Night Returns 2" and "Please Get Up" by the Walker Art Center. The Television Drawings encapsulate Smith’s desire to relate her work to her life and ours. As a stay-at-home mother of two young children in the 1970s, she would often have the TV on in the background. She recalls, “I began to do these drawings because the constant information of the world invading my studio and home was not avoidable. However, I was still involved with the basic theory of relating my work to experiences in a society that are shared by many people."

Luis De Jesus Los Angeles is pleased to announced the acquistion Ken Gonzales Day's "Erased Lynchings III" by The Balitmore Museum of Art. Ken Gonzales-Day focuses on interdisciplinary and conceptually grounded photographic projects that consider the history of photography, the construction of race, and the limits of representational systems. Erased Lynchings III includes 15 inkjet prints of the fronts and backs of postcards as well as stereo and archival photographs of lynchings. The Erased Lynchings series began as an artistic response to the realization that racially motivated lynching and vigilantism had been underrepresented and mis-represented in a number of historical texts.

Luis De Jesus Los Angeles is pleased to annouce the acquisition of Ken Gonzale-Day's "Africa: (left) Republic of Congo, Mask; Mali, Mother and Child for the Gwan Assoc.; Kota Peoples, Obamba or Mindumu groups, Janus Reliquary Guardian Figure; Republic of the Congo, Figure of Hunter; Nigeria, Plaque; Republic of Congo, Figure; Liberia, Mask; (center) Indonesia, Magical Figure of the Toba Bakat, (Louvre); Cote d’Ivoire, Fetish Figure; Republic of Mali, Boli (Komo Society Altar) (all LACMA)" by the Kalamazoo Institute of Art. In the Constellations series Ken Gonzales-Day engages with historical objects as part of his ongoing research into the history of modern racial formation. 

Luis De Jesus Los Angeles is pleased to announce the aquistion of Zackary Drucker's "Lady Enumerates (Self-Portrait) by The J Paul Getty Museum. Drucker’s work raises difficult questions about the personal and political significance of ideals of female beauty for individuals whose basic right to exist is constantly called into question. In a society that often ignores, ridicules, dismisses or exploits trans women, Drucker’s celebration of her own appearance represents a powerful political gesture. Drucker repositions the glamour shot as a way to embody sexual power and autonomy just as she lays bare the scars that the performance of gender can inflict.

Luis De Jesus Los Angeles is pleased to announce the acquisition of Lia Halloran's "WS601 The Collision" by the National Academy of Sciences. This work was inspired by the series of paintings that Lia Halloran created for the book The Warped Side of Our Universe: An Odyssey through Black Holes, Wormholes, Time Travel and Gravitational Waves, co-authored by Halloran and Nobel Prize-winning astrophysicist Kip Thorne. The paintings explore aspects of the universe and strange phenomena that continue to pique our curiousity.

Luis De Jesus Los Angeles is pleased to announce the acquisition of Karla Diaz's My Sleeping Beauty II (2021) and Grandma's Crossing (2022) by The Pérez Art Museum Miami. Diaz’s recent work is the result of a year of insomnia. In her commitment to rendering a painting every night, Diaz turned to the unfiltered, spontaneous imagery that surfaced during her insomnia, whether dreams, fantasies, or memory. In her introspection, splashes of color became figures and objects that transformed into scenes of domesticity and city life drawn from her upbringing in Mexico and Los Angeles. Personal memories, folklore, familiar iconography of her Mexican heritage, and American pop culture are intertwined in surreal compositions that consider family, loss, and the complexities of the Latinx experience in the United States.

Luis De Jesus Los Angeles is pleased to announce the acquisition of Ken Gonzales Day's Erased Lynchings V and Nightfall by The National Gallery of Art. Ken Gonzales-Day focuses on interdisciplinary and conceptually grounded photographic projects that consider the history of photography, the construction of race, and the limits of representational systems. Erased Lynchings V includes 15 inkjet prints of the fronts and backs of postcards as well as stereo and archival photographs of lynchings. Nightfall, from his series Searching for California Hang Trees, was part of his effort “to witness for myself, the land on which these acts had occurred,” he said. Although he discovered that most of the historic hang trees where lynchings took place in California were destroyed after the murders or had died from disease, he was able to determine the sites where the crimes occurred. 

Luis De Jesus Los Angeles is pleased to announce the acquisition of Hector Dionicio Mendoza's Leaning, Holding, Pushing by the Museum of Fine Arts Houston. Congratulations to Hector and we extended our sincerest gratitude to the Latino Art Fund for making this possible. Mendoza's ancestral matrice forms the foundation for his ambitious and expansive multimedia practice, with its surprising explorations and unconventional use of natural, organic, synthetic and recycled materials, he explores themes of migration and the environment as well as the geographies of place, memory, identity, and the visualization of immigrant stories.

Luis De Jesus Los Angeles is delighted to announce the acquistion of Griselda Rosas' La Batalla de Vortex and Tragaluz (Skylight) by the Los Angeles County Museum of Art. Acquisition made possible through the Drawings and Prints Department and the generosity of Karen R. Constine. Informed by her fluid experiences with the Mexico and US border and life between Tijuana and San Diego, her work deconstructs the ambiguities of identity and place, learned, and generationally passed subjugation, and the legacies of colonization and conflict.

Luis De Jesus Los Angeles is pleased to announce the acquistions of Vian Sora's Cherry Pickers, 2022 and Untitled with a Lotus, 2024 by the Museum of Contemporary Art San Diego, La Jolla, CA. The gallery extends our sincere apprecation to the board and the generosity of Henry V. Heuser, Jr. Sora's mixed media paintings suggest the struggle of the individual, often employing faceless, androgynous figures that transmute into abstract expressionism. Figures and cultural motifs are progressively enmeshed in gestural fields of color, rendering them sometimes invisible. This dialogue between figuration and abstraction acts as a metaphor that reflects upon the detritus of war and nature that distorts our world, memory and physical boundaries and ultimately the dynamics of change. She is inspired by the human will to survive during suffering and dig within the detritus to begin again the replication and rejuvenation of life itself.  

Luis De Jesus Los Angeles is delighted to announce the acquisition of Hector Dionicio Mendoza's Familia Universal/ Universal Family by the Crocker Art Museum.  Hector Dionicio Mendoza’s works are informed and guided by his own personal experiences and the realities and politics of the U.S./Mexico border. Familia Universal/ Universal Family commemorates the journey that many migrant families have made and continue to make in order to start a new life in the U.S. The gallery extends its most sincere appreciation to Scott Shields, curator at the Crocker Museum, and board member Simon K. Chiu for his generous support.

Luis De Jesus Los Angeles is delighted to announce the acquisition of Sherin Guirguis' Untitled (Bennu).  Untitled (Bennu) is part of a series of works inspired by Farīd al-Dīn Aṭṭār’s 12th-century Sufi poem, The Conference of the Birds (Manṭeq al-ṭayr). The artist channels her ancestors, personal experiences, and agency as a woman to draw parallels between Aṭṭār’s story of self-awareness and kinship, and the mythologies of ancient Egypt’s sacred birds.  The gallery extends its sincere gratitude to Anna Katz, Curator, The Museum of Contemporary Art, Los Angeles and the Drawings and Photography Committee for its generous contribution.

Luis De Jesus Los Angeles congratulates Hector Dionicio Mendoza on the acquisition of "Coyota/e", 2022, by OZ Art NWA in Bentonville, AR. We extend our sincere thanks and appreciation to Olivia Walton, co-founder and chair of OZ Art NWA, the board of the foundation, along with Chad Alligood, independent curator and art historian.

Luis De Jesus Los Angeles is delighted to announce the Pérez Art Museum's acquisition of Evita Tezeno's collage-painting, "The Rhythm of Street Life", 2023. Our heartfelt congratulations to Evita and our most sincere appreciation to Maritza Lacayo, Assistant Curator, Pérez Art Museum Miami, the PAMM curatorial team, and PAMM's Collectors Council.

Luis De Jesus Los Angeles is thrilled to announce the Baltimore Art Museum's acquisition of Mimi Smith's sculpture "Don't Turn Back", 1985. Our congratulations to Mimi Smith and our sincere appreciation to Jessica Bell Brown, Curator and Head, Department of Contemporary Art, Baltimore Museum of Art; Asma Naeem, The Dorothy Wagner Wallis Director; the curatorial team, as well as the Contemporary Accessions Committee and the Board of Trustees.

Co-organizers Meg Onli and Chrissie Iles select fellow filmmakers, artists, and curators to help develop the unprecedented Whitney Biennial 2024: Even Better Than the Real Thing, opening March 20, 2024.  The Whitney Museum of American Art announces the addition of five curators to help lead the film and performance program for the 2024 Whitney Biennial. Co-organizers Chrissie Iles and Meg Onli have invited Korakrit Arunanondchai, asinnajaq, Taja Cheek, Greg de Cuir Jr, and Zackary Drucker to join them in developing a Biennial that goes beyond the Museum’s traditional in-gallery presentation to showcase the latest creativity and innovation in art, film, performance, and sound.

Luis De Jesus Los Angeles is very pleased to announce the Los Angeles County Museum of Art's acquisition of two works by Ken Gonzales-Day: Run Up, 2002, a photograph from the Searching for California's Hang Trees series, and Untitled (After Hale Woodruff, Giddap, 1935), 2021, from the Anti-Lynching Drawings (with Figures Removed) series.

The gallery extends its most sincere thanks to Eve Schillo, Assistant Curator of the Wallace Annenberg Photography Department, and the LACMA Development team for helping to make this acquisition possible, along with Paula Ely and Cesar Rueda for their generous contribution.

Luis De Jesus Los Angeles is delighted to announce the acquisition of June Edmond's Silence.  June Edmonds’s Flag series explores the American flag as a malleable symbol of ideals and promises, and creates space for new symbols of identity and inclusivity. The idea for the series was prompted by several personal experiences she had involving the American and Confederate flags, and the rise of the Far Right during the 2016 presidential election. Silence (and a smaller version titled Innocence) is the only painting in the series that doesn’t follow the classic configuration of the Stars and Stripes. Instead, the composition of Silence bears a striking resemblance to the Confederate banner.  Edmond's states: "Silence — the telling of lies, conscious and unconscious ignorance, and the benefit of presumed innocence — is what I am addressing in this flag painting."  We extend our sincere gratitude to Paul Baker Prindle, director of the Museum.

Luis De Jesus Los Angeles is delighted to announce the Santa Barbara Museum of Art's acquisition of Vian Sora's painting Dilmun. Our hearty congratulations to Vian Sora on having her second work enter the permanent collection. The gallery also extends its most sincere appreciation to James Gleeson, PhD, Curator of Contemporary Art, Santa Barbara Museum of Art; the Collections Committee and the SBMA Board of Trustees.

Luis De Jesus Los Angeles is thrilled to announce the acquisition of six unique cyanotypes by Lia Halloran, by the Harvard College Observatory and the Astronomical Photographic Plate Collection (Harvard Plate Stacks). 

The gallery congratulates Lia Halloran on having her work enter the collections of these esteemed institutions and extends its sincere appreciation to Thom Burns, Curator of Astronomical Photographs, Center for Astrophysics, Harvard & Smithsonian. The Harvard College Observatory (HCO) is a research arm of the Faculty of Arts and Sciences, Department of Astronomy at Harvard University, in Cambridge, MA.

Luis De Jesus Los Angeles is pleased to announce the acquisition of Evita Tezeno's Standing on the Promises, 2022 by the Figge Art Museum.  The gallery extends its most sincere thanks to Andrew Wallace, Director of Collections and Exhibitions; The Board of Trustees' Acquisition Committee; and Dr. Randy Lewis, Davenport, IA.

Standing on the Promises takes its inspiration from one of Tezeno's favorite gospel hymns, “Standing on the Promises of God,” written by Russell Kelso Carter in 1886.

View Figge Art Museum

Luis De Jesus Los Angeles is thrilled to announce the acquisition of Vian Sora's painting Forest Remains, I, by the Santa Barbara Museum of Art.  The gallery offers its deep appreciation to James Glisson, PhD, Curator of Contemporary Art, Santa Barbara Museum of Art; Eik Kahng, Registrar; and Nicolas Mutton, Chair, Basil Alkazzi, who underwrote the acquisition, and the entire SBMA Board of Trustees.

Luis De Jesus Los Angeles is thrilled to announce the acquisition of Vian Sora's painting 'Last Sound', by the Baltimore Museum of Art.  The gallery extends its most sincere gratitude to Jessica Bell Brown, Curator and Head, Department of Contemporary Art, Baltimore Museum of Art; Asma Naeem, The Dorothy Wagner Wallis Director and Chief Curator; Cynthia Hodge-Thorne, Meyerhoff-Becker Curatorial Fellow; and Helene Grabow, Senior Collections Development Manager; Shelby Merritt, Associate Registrar; as well as the Contemporary Accessions Committee and the Board of Trustees.

'Last Sound', a large mixed media painting on canvas, is a response to the displacement and oppression that migrants and immigrants confront — the hardships endured, their constant refusal, lost identity, and the last familiar sound that keeps resonating in their life.

Luis De Jesus Los Angeles is very pleased to announce The Art Institute of Chicago's accession of Ken Gonzales-Day's Erased Lynchings I, 2006, into the permanent collection.  The Erased Lynchings series (2002-ongoing) began with a focus on the history of lynching in California and has brought new scholarship and awareness to the history of lynching nationwide. The research specifically expanded the number of known cases in California, and the work now includes the lynching of African Americans, Latinos, Asians, Native Americans, and Jews, in the American West and nationwide. 

Luis De Jesus Los Angeles is proud to announce the Museum of Modern Art's accession of The Wonder Gaze (St. James Park), 2006, by Ken Gonzales-Day, into the permanent collection.  The Wonder Gaze (St. James Park) is one of the most recognized photographic works by Ken Gonzales-Day. It depicts the lynching of Thomas Thurmond and John Holmes in St. James Park, San Jose, CA, in 1933. It is part of the Erased Lynchings series (2002-ongoing), which began with a focus on the history of lynching in California and has brought new scholarship and awareness to the history of lynching nationwide. 

Luis De Jesus Los Angeles is proud to announce the Whitney Museum of American Art's acquisition of GRAFT, 2022, by Edra Soto. GRAFT was featured in the museum's landmark exhibition “no existe un mundo poshuracán: Puerto Rican Art in the Wake of Hurricane Maria," organized by the DeMartini Family Senior Curator, Marcela Guerrero. The gallery wishes to thank the museum and everyone who made this acquisition possible.

Luis De Jesus Los Angeles is proud to announce that Dallas-based artist Evita Tezeno has been named a 2023 Fellow of the John Simon Guggenheim Memorial Foundation. Her fellowship is supported in part by the Joel Conarroe Fund, named for the former President of the Foundation who was a Guggenheim Fellow in 1977.

The Bemis Center's Ree Kaneko Award was created to award $25,000 unrestricted, by nomination to an alum of the program to provide financial support to increase the capacity of an artists practice.

Luis De Jesus Los Angeles is pleased to announce that Grinnell College Museum of Art, Grinnell, Iowa recently acquired four works by artist Vian Sora.  The works included Eden I,2022, Eden II, 2022, River Bed, 2022, and Thirst, 2021.  Sora's work utilizes a synthesis of styles and iconography taken from both her native, modern and ancient Iraq and adopted cultures, along with a variety of techniques.

"CCF is proud to support our Fellowship for Visual Artists fellows in their artistic careers and we celebrate their commitment to transforming communities through their work. Each of our fellows embody the future of arts in LA."