Zoe Walsh’s site-specific mural opens at the ICA LA on September 26, 2026! The mural will be on view through February 28, 2027.

Debuting on ICA LA’s 7th street facade is a commissioned, site-specific mural by artist Zoe Walsh (b. 1989, Washington D.C.; lives and works in Los Angeles, CA). As a painter, Walsh refuses and expands the bounds of their chosen medium. They disrupt the containers of canvas and paint; bend figure and ground; entwine deep research and embodied practice. Their process includes digital modeling, meticulous hand-weeded stencils, and screen printing—all of which coalesce into dreamy scenes of silhouetted bodies in nature and in pleasure. Gardens, parks, and urban landscapes appear throughout Walsh’s paintings as sites for queer intimacy and possibility, reclaimed in the face of systemic erasure. In composing their montages, Walsh combines material from queer archives, topographic maps, and other found images with photographs of their own community staged in their garden. Refracted through Walsh’s prismatic hand, these references—once stamped in time—become emergent visions of queer and trans connection. Oscillating between vibrancy and concealment, Walsh’s work confounds legibility, inviting ways of seeing that shift, shimmer, and unfold. Their forthcoming mural will formally and conceptually expand upon these lines of inquiry, focusing in particular on the ecologies of Los Angeles.

Vielmetter Los Angeles is pleased to announce the Virginia Museum of Fine Arts’s acquisition of Kwesi Botchway’s Iced Cuban Chain Reflect (2023) and Black Baker Boy Cap (2023).

Kwesi Botchway creates paintings and installations with content and material sourced from Accra, Ghana, where he lives and works. The paintings often feature figures within a domestic scene, looking out at the viewer through a mirror, their gaze refracted during a moment of self-reflection. His subjects are rendered with deep purple-black undertones and red-toned eyes, and special attention is given to lustrous pieces of jewelry, patterned fabrics, and textured surfaces. In Botchway’s compositions, both subject and viewer echo their respective witnessing gazes and are invited to indulge in the act of looking, a pleasure historically denied to the Black body. The portraits imbue their subjects with a sense of presence and style as they unabashedly delight in their own image.