Join us in the courtyard to kick off Frieze LA 2026 to celebrate the openings of ‘Destiny Is a Rose: The Eileen Harris Norton Collection’ and ‘Christina Quarles. The Ground Glows Black’ at Hauser & Wirth Downtown Los Angeles. Enjoy cash bars and food for sale by the gallery’s onsite restaurant Manuela, and music by Chloëdees and BAE BAE.

Stop by the Kiosk for the new exhibition catalogue accompanying ‘Destiny Is a Rose’ and the latest issue of Ursula Magazine, Issue 16.  
 
Galleries will be open for viewing from 6 – 9 pm. 
 
This event is free; however, reservations are recommended. Click here to register.

About ‘Destiny Is a Rose: The Eileen Harris Norton Collection’ 
Renowned for her generosity to artists and institutions, Eileen Harris Norton has built a collection and philanthropy actively focused upon the work of women, artists of color and her native California. Marking fifty years since Harris Norton’s first acquisition—a print purchased directly from Los Angeles artist Ruth Waddy in 1976—‘Destiny Is a Rose’ presents more than 80 works that together reflect Harris Norton’s prescient vision and commitment to social justice and learning.

Titled after a painting by Kerry James Marshall, ‘Destiny Is a Rose’ includes work by such artists as Mark Bradford, Felix Gonzalez-Torres, David Hammons, Glenn Ligon Marshall, Lorraine O’Grady, Adrian Piper, Betye Saar, Lorna Simpson, Kara Walker, Carrie Mae Weems and Jack Whitten, among others. In conjunction with ‘Destiny Is a Rose,’ Hauser & Wirth Publishers will release a catalogue featuring texts by Dr. Kellie Jones and curator Ingrid Schaffner, celebrating a collector who continues to be an agent of cultural change and growth.

About ‘Christina Quarles. The Ground Glows Black’ 
Created in the wake of the wildfires in Altadena, the artist’s latest body of work reflects an acute sense of displacement—geographical, emotional and corporeal.  
 
Quarles is admired for the dynamism and power with which she manipulates paint and surface; with the new paintings in this exhibition, she continues to test the expressive and physical limits of her medium. Kinetic planes of color, texture and pattern evoke architectural and digital realms, while wrenching human forms seem to bend and fold as if by centrifugal force. Denser and more frenetic than Quarles’ earlier works, these canvases compress time and place with heightened intensity. At its core, her practice contemplates the instability of existence, the extent of resilience and what it means to inhabit multiple realities at once.