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Caracas has two avenues known as “Cotas”: Cota Mil, also known as Boyacá Avenue, which borders the Waraira Repano national park from East to West on the North edge of the capital. And Cota 905, or Guzmán Blanco Avenue, which heads south. In both cases, the name refers to their altitude above sea level.

Cota 905 was inaugurated by Marcos Pérez Jiménez in 1953. Years later, Venezuelan families began building informal settlements around it. By the late 1970s, it had become a complex area, with difficult access that to some extent isolated it from the rest of the city. 

Between 2014 and 2021, armed gangs took control of the area, turning it into the city’s most dangerous barrio, terrorizing 300,000 residents and ensuring that not even the garbage collection service dared to enter. Every day we heard news of clashes with police forces or even of the “occupied territory” expanding into nearby areas.

Over these years, the government alternated between attempts to negotiate with the gangs –in an effort to turn the neighborhood into a “peace zone” –and a “heavy-handed” crackdown on crime. There were police operations as part of the so-called “Operation Liberation of the People” (OLP), followed by raids by the elite FAES unit. Finally, the massive “Operation Gran Cacique Indio Guaicaipuro” was launched in 2021, with the establishment of 34 checkpoints in what appeared to be an invasion of enemy territory by security forces.

Although no one questioned the need for the government to regain control of Cota 905, Operation Cacique Guaicaipuro sparked strong criticism of police actions, including the arrest of dozens of young people who were later proven to have no connection to criminal gangs. The barrio’s kingpin, Carlos Luis Revete, alias “El Koki,” escaped the operation but was killed months later in a shootout near Caracas. 

Since then, residents of the area have noted a decline in crime and drug trafficking. However, they complain that the government should follow up its intervention by addressing other basic needs: street cleaning, improving services, replacing damaged roofs, creating decent spaces for education, culture, sports, and recreation, generating local employment. Above all, there was also the issue of lifting the stigma after all those years. Making people understand that Cota 905 produces more than just criminals.

Still, in Venezuela, whenever the state takes a step back, organized communities step forward. One initiative I had the chance to get to know was “The Cota 905 Tour: A Thousand Stories, Over a Hundred Murals, One Route,” a community-led cultural tour that transforms the neighborhood into an open-air art gallery.

This project was conceived by Jefferson Cárdenas, a young man known as “Gorra,” who spent a couple of years in prison for theft and weapons possession until another group came to his rescue: Free Convict, a Venezuelan hip-hop group made up of former inmates and prisoners who use music as a tool for social reintegration and personal transformation. In fact, many of these rappers have joined him in this new social initiative. 

Jefferson recruited a couple of neighbors and began taking out trash, clearing brush, sweeping, and installing light bulbs. Little by little, other neighbors started donating small amounts of cement or paint they had stored at home. Some neighbors –who are currently out of the country –also did their part. So did some small business owners in the neighborhood: from the owner of a 30-year-old bodega that is a neighborhood institution, to newer ventures like a pizzeria (which I highly recommend!) and a bakery. Meanwhile, graffiti artists and muralists also decided to contribute their art for free.

To begin the tour, it takes some effort to go up an endless amount of painted staircases that are a testament to urban creativity. Then, amid its labyrinthine streets, we witness murals on walls and house façades. Over a dozen artists and collectives contributed more than 100 artworks.

The key word if self-management. The initiative has relied on grassroots organizations in the barrio and also helped them reactivate.

But the tour isn’t just about taking in the views. Visitors are joined by local historians, and there are impromptu concerts, theater plays designed to raise awareness, traditional games, local cuisine, and even souvenirs for sale featuring positive messages about Cota 905. Given its success, the organizers are considering new possibilities, such as tours at sunrise or sunset.

The Venezuelan government, which in recent years has launched various initiatives in Cota 905 but without much consistency, has acknowledged the tour success. The Ministry of Tourism has officially recognized it, and even groups of foreign tourists have come to experience it.

Jefferson’s team has helped redefine the Cota 905 territory. Artists and musicians now come here to shoot music videos, taking advantage of the incredible views. The most breathtaking photos are taken from the so-called “Eye of God,” a spot that lives up to its name, reaching a height of 1,200 meters. Once used by criminals to maintain control over the city, it is now a local attraction.

To those who might be reluctant to visit Cota 905, Jefferson responds clearly: “I didn’t agree with the police operations –there were too many clashes between law enforcement and gangs. It was a war, but ultimately the state had to do something. This neighborhood was a problem for all of Venezuela, but today we want to be part of the solution. We need these initiatives to work because there are still many kids waiting for opportunities: before, they were given radios, drugs, and weapons; today we want to give them paint, balls, and microphones, so they’re seen in the media as an example and not as a tragedy.” 

The group, which tries to stay away from strong political or religious stances, wants to grow food, introduce horseback rides, and more. “This mountain was hurt,” Jefferson continues. “My brother was killed but my son was born here. We have plenty of reasons to commit to this barrio. Hopefully authorities could give us a helicopter ride so we could point out from above everything that needs fixing. But until then, we’ll continue with our work.”

The story of Cota 905 is not unique, nor is it a novelty. The barrios in the major Venezuelan cities, Caracas above all, have always had to overcome marginalization. When Chávez came to power, many of them remained as “green spaces” in local maps, even though they were home to hundreds of thousands of families in piled-up hillside houses. And if they were classified as green areas, it meant they had no public services nor were they part of public policies. But that never stopped the people from organizing to defend their rights, resist against state violence, and build a future together.Venezuelan barrios can be precarious, hostile, violent. But if we are willing to walk and listen to them, we realize that they are also spaces of profound beauty and solidarity. The struggle continues.

Most Angelenos know Frank Gehry as the rebel architect whose deconstructivist buildings reinvigorated L.A. amid its late-century identity crisis.

Fewer know him as the sentimental sculptor celebrated in Gagosian Beverly Hills’ upcoming “Frank Gehry” exhibition, the first to showcase Gehry’s work since his death in December. Curated by those who worked with and loved the famous architect, the show, scheduled to open May 14 and run through June 27, is equal parts tribute and art presentation. It will feature several of Gehry’s animal-themed sculptures, including a rarely seen stainless steel bear figure, on loan from the artist’s family.

The exhibition will also include the first public screening of Gehry’s entry in Gagosian Premieres, a series of videos by the gallery showcasing new art exhibitions through a mix of intimate artist interviews, studio visits and specialized musical performances.

By spotlighting Gehry’s artistic practice rather than his design ouevre — which includes Walt Disney Concert Hall, Guggenheim Museum Bilbao and Fondation Louis Vuitton — the exhibition reveals a different side of the late visionary, said Deborah McLeod, senior director at Gagosian Beverly Hills.

“I wouldn’t say it’s a retrospective, but it is a chance to stand in the room and be with him,” McLeod said, adding that she “wouldn’t have the hubris to say this is going to offer anybody closure,” but that she hopes it will help people — especially those who worked closest with Gehry — to process his loss.

“Everybody is kind of raw and missing Frank, and it’s just a chance to come together and do this again as his team,” she said.

McLeod curated the exhibition alongside Meaghan Lloyd, chief of staff and partner at Gehry Partners, whom the director said “really speaks for Frank.” Gehry‘s studio will design the show, which was realized in collaboration with the artist’s family.

“We didn’t get a chance to put one in the gallery proper. Every time we’d make one, it would get sold,” Deborah McLeod said about Frank Gehry’s bear sculptures.

(© Frank O. Gehry. Photo: Benjamin Lee Ritchie Handler / Courtesy Gogosian)

The highlight of the Gagosian exhibition is an artist proof of “Bear with Us” (2014), which the gallery lifted out of Gehry’s wife Berta Aguilera’s garden with a crane. Another edition of the bear sculpture is on view at the New Orleans Museum of Art, but at Gagosian, the work for the first time will be on view as part of an exhibition.

The stainless steel figure has a crumpled appearance that many believe is the result of Gehry balling up a piece of paper and seeing the bear in the crumple, although McLeod said Gehry told her himself that wasn’t true. The director added that the bear’s form gives the illusion of something “coming into being or dissolving.” The sculpture will likely have the Gagosian’s north gallery completely to itself.

“We’re really going to give him his due,” McLeod said. It was only right for a piece that, to her, reads as Gehry’s “self-portrait.”

A handful of other animal-themed sculptures will populate the south gallery, including a glowing black crocodile, gouache-painted papier-mâché snake lamps, and “Fish on Fire” (2023), the last of Gehry’s fish sculptures to be rendered in copper. Illuminated within the darkened gallery, the pieces will have a “magical” flair, McLeod said.

The first fish sculptures Gehry made in the ’80s were contained, even still. But when he returned to the fish form 30 years later, Mcleod said, “they started to become actually Baroque, so that’s kind of neat to see that evolution.”

Rounding out the exhibition are a series of ink, watercolor and acrylic works on paper that “express the energetic motion of fish in networks of black line and clouds of color,” a news release said.

A portion of the pieces in the exhibition will be available for purchase, with a detailed checklist to come.

The first Frank Gehry Fish Lamps were exhibited in 1984 at Gagosian in Los Angeles.

(© Frank O. Gehry. Photo: Robert McKeever / Courtesy Gagosian)

Gehry’s designs breathed life into the city’s core, but he didn’t get to finish a number of his most exciting plans, including one to transform the 51-mile-long L.A. River.

And while his architecture was his great gift to his adoptive hometown — his art was his gift to himself.

“As one of the busiest architects in the world, imagine the math and the minutiae that you have to go through,” McLeod said, noting the enormous pressure from clients that Gehry must have felt in his daily practice.

“For him, just to make something the shape he wants to make it, plug it in … I know it was a huge relief for him,” she said. “I know how much he loved doing it, and I loved being a part of that part of his life.”

Finding a revolutionary artist during cocktail hour at the opening gala of Los Angeles County Museum of Art’s new David Geffen Galleries was like shooting fish in a barrel.

Gaze over the rim of your glass to notice Jeff Koons and Ed Ruscha talking closely beside the DJ booth. Mark Bradford strides by with a beneficent smile — towering over everyone, including AI art maker Refik Anadol. Todd Gray, whose 27-foot-long photo sculpture “Octavia’s Gaze” graces the hallway near the building’s south entrance, chats with Wim Wenders, who is making a documentary about architect Peter Zumthor’s controversial new $724 million concrete behemoth. Zumthor is there too — in bright red sneakers — talking to LACMA director and chief executive Michael Govan before Govan turns to take a selfie with immersive installation artist Do Ho Suh.

Jeff Koons, left, talks with Ed Ruscha at the opening gala for LACMA’s new David Geffen Galleries on Thursday.

(Jessica Gelt / Los Angeles Times)

Lauren Halsey walks by in her distinctive white shirt, long shorts and ball cap, beset on all sides by friends and admirers.

“It’s beautiful, it’s fantastic,” she said of Zumthor’s creation.

It’s an artist’s world on this breezy evening, as the sun sets golden over the looming gray concrete of the building, and the lights that gird the structure’s underbelly flicker on and twinkle like stars overhead. In this milieu, Hollywood A-listers like Will Ferrell and Sharon Stone, who occupy separate cliques nearby, pale in comparison to the mingling artistic luminaries.

Architect Peter Zumthor, left, and Michael Govan attend LACMA’s opening gala for the David Geffen Galleries. Govan said he hopes the building lasts 500 years.

(Gina Ferazzi / Los Angeles Times)

“It’s ready for us,” Bradford said of the building. “It’s ready for artists. I walked in and I was overwhelmed with a space that was made for us, and I can’t wait for everything I can do.”

“Snazzy. Does the job,” said Ruscha, looking bemused and speaking in short bursts of headline-style phrases like one of his famous paintings.

Gray said he was glad to see his art during “magic hour,” noting how the setting sun shone warm through the building’s glass windows — diffused by textile designer Reiko Sudo’s chromium spattered curtains — to imbue his photo installation with a distinctive warmth.

“I’ve never seen it at dusk,” Gray said with a smile. “It was a totally different experience to see it at that time of day. And [the light was] actually yellow, so the piece changed … and the concrete warmed up because of that warmer light. It was a lovely chromatic experience, which is wonderful because then you’re aware that you’re experiencing something in a very particular space and time.”

James Goldstein, the owner of architect John Lautner’s famed Sheats-Goldstein Residence, which he promised as a gift to LACMA in 2016, agreed with Gray that the gloaming light was lovely.

“If it were up to me the curtains wouldn’t be closed,” Goldstein said, noting that the curtains in his home — which is also made of concrete and glass — are never closed, and that the views from the Geffen Galleries are extraordinary and worth leaning into.

Koons said the building, and the moment in time that defines its unveiling, has the potential to bring the world together.

“It’s an amazing evening for all these people that love and believe in the value of art and humanity to be together and to celebrate architecture,” said Koons, noting that he looks forward to showing his art inside the new galleries. “LACMA is a place that’s here for future generations and Peter’s building is amazing.”

Will Ferrell and Viveca Paulin were among the major Hollywood stars at the gala.

(Gina Ferazzi / Los Angeles Times)

Chatter about the building could be heard in every cluster of guests. One group talked about how striking it was to see ancient Greek sculptures juxtaposed against the rush of traffic along Wilshire Boulevard; another discussed their hope for more landscaping, noting that the concrete ground and concrete building begged for some lush greenery.

Govan basked in the limelight nearby, shaking hands and doling out hugs and back pats. His vision for the building has been 20 years in the making, and he’s faced an enormous amount of pushback, but the structure is here and his enthusiasm for it has not waned.

“I’ve just always imagined people in the building — it’s for people,” Govan said. “And I want it to last 500 years, I want those little drill marks to accumulate, I want change. I want this to be something that generations will care for.”

Zumthor also seemed deeply pleased with the moment, saying, “I’ve always been happy,” and emphasized that working in L.A. taught him to embrace a certain frontier-like lack of refinement.

LACMA’s staff was elated, especially those who have been watching the project develop for decades and absorbing the large amounts of criticism that have accompanied its manifestation.

Stephanie Barron, LACMA’s senior curator and modern art department head, said, “This is the first night with our art world colleagues and donors, and it’s thrilling to see how they are responding, and how they are a little confused, at first, about where to go. Then they realize, that’s the point of this — and they are just going with the flow and they are smiling and happy and looking at the art. It’s a game changer.”

“I’ve been here nearly 20 years and seeing this going from concept to reality has been the greatest thing,” said Tiffany August, associate vice president of LACMA’s people and culture department, which oversees human resources. “So much soul and heart and effort went into this.”

Arun Mathai, budget officer and head of finance, has also been with the museum for 20 years and said it’s exciting to finally be on the other side of the project. “To see it happen in such a beautiful way is very gratifying. The notion of no hierarchy, of wandering around and seeing art from all over the world, from all time periods beautifully juxtaposed, it’s just so enlightening,” Mathai said.

Michael Govan, left, Peter Zumthor, Holly J. Mitchell and Mayor Karen Bass attend the opening gala.

(Gina Ferazzi / Los Angeles Times)

Later, during a four-course meal of broiled oysters, tuna tostadas, braised Wagyu short ribs and berry meringue, various LACMA supporters, including board co-chair Tony Ressler; life trustee and major donor Lynda Resnick; and L.A. County Supervisor Holly J. Mitchell, whose district houses LACMA, took to the stage in a tent set up west of the new building to sing the praises of the Geffen Galleries — and to note that the evening’s dinner raised a record-setting $11.5 million. (The Geffen Galleries’ ongoing fundraising campaign now stands at $869 million.)

“This is a great, great example of what can be achieved when government and philanthropy work hand in hand for the public good,” Ressler said before thanking Govan for “taking bold risks.” “Your legacy is now permanently etched in the stunning galleries that will open to the public very soon.”

Mitchell was full of praise for Govan and Zumthor.

“The Geffen Galleries didn’t come to fruition overnight. And frankly, nothing that changes the status quo ever does,” Mitchell said. “To Michael, Peter, David [Geffen] and our dear Elaine [Wynn], thank you for your patience, because visionaries like yourselves often have to wait for the rest of the world to catch up with you.”

Resnick got a big laugh when she described her first meeting with Govan and his wife 21 years ago.

“An exquisite couple walked into [vice chair of the board] Bobby Kotick’s house. There was Michael Govan, a true intellectual, Zen thinker, movie star handsome, and under consideration to run LACMA. By the end of the evening, I was sitting on his lap feeding him peeled grapes.”

She concluded on a more serious note, calling the Geffen Galleries a “masterpiece of public art.” “Only one person in the world could have done all this with the signature elegance and his provocative style,” she said of Govan. “Generations will cross that bridge and watch the cars stream below, and feel the power of being embraced by art above all the gorgeous chaos of our city.”

After a standing ovation, Govan introduced musicians Sean Watkins, Gabe Witcher and T Bone Burnett, who sang — quite fittingly — “The Times They Are A-Changin.’”