The LA cultural strategist picks contemplative, sensory and emotive works by Suki Seokyeong Kang, Dabin Ahn and Yuko Mori among others

Yuko Mori, Decomposition, 2026
Antique table, LED lights illuminated by fruit, 53.3 × 48.3 × 71.1 cm. Presented by Tanya Bonakdar Gallery

I first encountered Yuko Mohri’s work at the Venice Biennale, where she represented the Japan Pavilion, and later at her solo exhibition at the Artizon Museum. Her integration of sculptural elements and sound – often activated through organic materials and environmental forces – feels both intricate and alive. The installations evolve over time, revealing a quiet technical sophistication balanced by subtle whimsy. Her work transforms everyday materials into poetic, time-based systems that are as intellectually engaging as they are sensorially disarming.

Danielle Dean, Labours of the Months: June, 2026
Watercolour on silk, mahogany frame, 107 × 107 × 5 cm. Presented by Commonwealth and Council

Commonwealth and Council consistently presents some of the strongest programming in Los Angeles, with a diverse and deeply considered roster of artists, including Danielle Dean. Her work juxtaposes traditional, almost mediaeval, architectural elements with a vibrant, decorative colour palette. At first glance, it can feel ornamental or playful, yet it subtly embeds ideas around labour, industry and class. That tension between surface beauty and underlying critique gives the work its impact.

Dabin Ahn, Repose II, 2026
Oil on linen and walnut, 49 × 33 cm. Presented by François Ghebaly

Dabin Ahn’s recent solo exhibition at François Ghebaly was a beautiful, poetic tribute to his father. His use of traditional still-life elements, subtly infused with surrealism, creates paintings that feel intimate and contemplative, carrying a quiet emotional weight. There’s a deeply meditative quality to the work that feels profoundly moving.

Jennifer Guidi, The Lighthouse, 2026
Oil and sand on linen, 81.9 × 59.2 × 6.3 cm. Presented by David Kordansky Gallery

I’ve been a longtime admirer of Jen Guidi’s work. I love the way she captures California’s landscapes in such a joyful, vibrant and almost spiritual way. Her use of sand is especially distinctive, adding texture and a kind of tactile, impressionistic mark-making that gives the work depth and atmosphere.

Suki Seokyeong Kang, Mat 120 × 165 #23-79, 2023
Painted steel, woven dyed hwamunseok, nylon thread, wood frame, brass bolts, leather scraps. Presented by Kukje Gallery

Suki Kang drew from traditional Korean craft techniques, yet created work that feels strikingly modern – almost industrial – and completely timeless. Though she passed away last year, her work will continue to resonate for years to come.

Zenobia Lee, Disillusions (soiled), 2026
Cast aluminium, 104.15 × 99.9 × 5.1 cm. Presented by Sea View

Sara Hantman of Sea View Gallery has an incredible eye. I’m especially drawn to Zenobia Lee’s work and the way she monumentalizes everyday objects, elevating them to underscore their significance within Caribbean diasporic culture. There’s something powerful about how she transforms the ordinary into symbols of memory, identity and heritage.

About Grace Cha

Grace Cha is a Los Angeles-based brand and cultural strategist, and founder of Cha Advisory, where she advises brands, cultural institutions and organizations on partnerships, positioning and long-term growth. Most recently, she served as deputy director of external affairs at the Lucas Museum of Narrative Art in Los Angeles, leading marketing, communications, development and corporate partnerships ahead of the museum’s opening. With more than two decades of experience spanning luxury fashion, technology and the arts, Grace brings a cross-disciplinary perspective to cultural storytelling, brand alignment, and audience engagement. She remains actively involved in the contemporary art community and supports fundraising initiatives for LACMA and the Hammer Museum, among others.