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"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, 2027Turn 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, 2026Past, 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."

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