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Darkness engulfs me right before I step into a dream. The Oscar-winning Mexican filmmaker Alejandro González Iñárritu guides me from a pitch-black hallway into an open space, where beams of light and smoke, interspersed with sounds from the streets of Mexico City, create a vortex into a unique cinematic experience.

Inside the Los Angeles County Museum of Art, Iñárritu is giving me a tour of his new installation “Sueño Perro:” a sensorial celebration of his 2000 debut film, “Amores Perros,” in honor of its 25th anniversary. The only physical elements on display are six film projectors and the celluloid that contains frames of unreleased footage, which are shown on screens of different sizes around the room. Detached and unburdened by the need of a narrative, the images simply exist.

“I love doing installations,” Iñárritu says in Spanish. “It’s like playing a game with your friends. And it’s liberating for me, because I don’t have to think about selling tickets.”

Before arriving at LACMA, his “Sueño Perro” mesmerized audiences in Milan, Italy, and in his hometown of Mexico City. LACMA previously hosted Iñárritu’s intense and immersive project “Carne y Arena,” which allowed visitors to put themselves in the shoes of a person crossing the U.S.-Mexico border on foot.

In Milan and Mexico City, “Sueño Perro” occupied labyrinthine spaces with multiple rooms. Contained within a single room, the L.A. iteration is the “paranoic version,” Iñárritu says. Once inside, there’s no respite to the barrage of images and the soundscape that surround you. He aptly describes the projectors’ beams of luminosity as “light sculptures.”

Curiously, he notes, people have such reverence for these hypnotic streams of light that they duck to avoid disturbing them rather than crossing in front of them. Iñarritu wishes they would, in fact, disrupt the light, so their shadows can enter the frame and transform it.

Never-before-seen footage from “Amores Perros” projects from 35mm projectors across the walls at LACMA, Wednesday, Feb. 18, 2026.

(Sarahi Apaez / For De Los)

The projected footage is material that didn’t make it to the final cut of “Amores Perros”: a gritty, visceral drama following three different stories across different social classes in a chaotic Mexico City during the turn of the millennium. Back in 2018, Iñárritu learned that all his dailies (raw takes) from that shoot, which in most productions are thrown away, were preserved at Mexico’s National University (UNAM).

“It was like looking through an album you haven’t opened in 25 years, which smells of dust,” he says. “Because of the distance, the images actually evoked a beautiful nostalgia in me.”

And that album was substantial. Iñárritu recalls that he and cinematographer Rodrigo Prieto shot an immense amount of footage, nearly 1 million feet of film.

Gael García Bernal from a scene in “Amores Perros,” released in 2000.

“It’s like the placenta that’s thrown away when a baby is born. Suddenly, that discarded material, rich in DNA, which was already dead but was once part of a living being, has a life of its own,” Iñárritu explains vividly. “I didn’t know that these fragments, this dead material could be resurrected, but light has given new life to something that was forgotten.”

Critically acclaimed and Oscar-nominated for international feature film (foreign-language film back then), “Amores Perros” marked a watershed for the Mexican film industry, as an ambitious production that captivated both local and international audiences while unflinchingly portraying the country’s social ills from a humanistic standpoint.

“Look at Gael! He was 19 then. That’s a beautiful image of him,” Iñárritu says of “Amores Perros” lead García Bernal, whose shaved head is projected on one of the installation screens. The actor made his feature film debut in “Amores Perros” and has since had an extraordinary career.

At one point, three of the six projectors go dark — and the three remaining show the pivotal car crash that connects the film’s three narratives. Iñárritu and Prieto shot the imposing accident with nine different cameras. Seeing all nine different angles unspool in “Sueño Perro” provides a new understanding of the moment’s challenging orchestration.

Such a sequence evinces that “Amores Perros” was the work of an artist in his mid-30s willing to put it all on the line, uncertain whether he would get to make another film.

“I’ve changed a lot as a filmmaker, but I’m still the same idiot I’ve always been. That’s the bad news,” Iñárritu says laughing. “The other bad news is that I couldn’t make a film like that anymore, because of the number of shots and setups, and the energy behind each of those shots.”

The passage of time, in tandem with the film’s anniversary, allowed an opportunity for Iñárritu and screenwriter Guillermo Arriaga (who wrote “Amores Perros,” “21 Grams,” and “Babel”) to reconcile after a long-standing falling out. The two mended their bond in public last year during an event in Mexico City.

“It was very important for me to close this chapter,” Iñárritu explains. “There was something so special about our friendship as people — and our children were also very close. I truly missed him as a friend. As you get older, you realize that grudges and animosity are the worst investment; it’s like having a disease inside you and not wanting to let it go.”

While most exhibits celebrating a film’s legacy feature artifacts or costumes that appeared on screen, Iñárritu ultimately decided to opt out of that route. Initially, he admits, the director was tempted to find the scraps of the wrecked car that belonged to García Bernal’s character in the film, a black Ford, and place it at the center of the installation. But it was LACMA’s CEO Michael Govan who persuaded him to preserve the purer approach.

“Michael loved the idea of the projectors, of the light and memory. And he wisely told me, ‘Perhaps the material object will be distracting. This work is ethereal, and maybe something solid will create a knot.’ I thought it was a great reflection, and I said, ‘That’s true. I’m going to try for this exhibition to exist without physical matter, because it’s about the analogous, but also the immaterial, which is light and time.’”

The objects or “archaeological remains of a film,” as he calls them, cause Iñárritu great sadness. To him those relics are akin to looking at a collection of lifeless butterflies preserved in a box. “When I see the shoes that so-and-so wore or the dress that so-and-so wore, they seem to me like butterflies that once flew and now they’re dead,” Iñárritu says. “Objects that once appeared in film lack life afterwards. They’re like skeletons.”

(Sarahi Apaez / For De Los)

For young people who have mostly watched movies on their electronic devices, Iñárritu thinks witnessing “Sueno Perro” could spark great curiosity about the way cinema existed for most of its history: on film. It will allow them to think of cinema in a primal manner.

“We are organic beings, and our capacity for understanding and our development involves all our organs, and digital screens have forced us to perceive everything only on an intellectual level,” he says. Entering the installation, he hopes, will resemble the feeling of entering a womb or a cave. “The flickering light from the lamps in the projectors is reminiscent of the fire in caves when people gathered and shared stories,” he adds.

Sonically, “Sueño Perro” envelops attendees not in lines of dialogue or a musical score, but the sounds of life in Mexico City — from street vendors to a marching band — recorded over the years and brought to L.A. with the help of sound designer Martín Hernández, who’s worked on every single Iñárritu film since “Amores Perros.” And while some of those aural elements still exist today, “Amores Perros” also serves as a time capsule of a city that has evolved and mutated incessantly.

“I still recognize the city when I watch the film, but it makes me laugh so much to see the cars and the clothes of the time,” he says. “It now looks like the Paleolithic era. And I think, ‘I’m so old!” But yes, it was definitely a different city back then.”

(Sarahi Apaez / For De Los)

Like Iñárritu, I still lived in Mexico City, then known as Distrito Federal, when “Amores Perros” was released. In those days, international tourists often feared visiting the metropolis for fear of being kidnapped. To see Mexico City become a trendy, sought-after destination for “digital nomads” from the U.S. and elsewhere feels jarring.

“People from the U.S. have for so long been snobbish about Mexico, and now they go and say, ‘F—, this is a city with incredible cultural depth,’” Iñárritu says. “They realize that their snobbishness came from a misconception, based on propaganda they’ve been fed, which portrays us Mexicans only as “sombrerudos.’”

What’s so bewitching about Mexico City, and the country at large, Iñárritu thinks, is the people’s worldview and how they confront their realities.

“There’s no other country that has that kind of vitality, because despite all of its problems, and there are many — like how violence and corruption have become so normalized — the people have an energy, a joy, a vitality that’s very hard to find in any other city around the world,” he says.

On the subject of the ingrained issues that still plague his home country, Iñárritu recalls that those in power were not pleased with how “Amores Perros” addressed them on screen.

“The Mexican government was ashamed of the film,” he says. Whenever the film would win an award at an international festival, the Mexican ambassadors or diplomats in any given country would decline invitations to celebrate the accomplishment.

“They said it was a bad representation of Mexico, that what the film showed wasn’t Mexico,” Iñárritu recalls. “They said it showed too much violence. Give me a break, as if I were the secretary of Tourism.”

Aside from promoting this latest stop in the “Sueño Perro” installation’s journey, Iñárritu is in the post-production stage of his upcoming film “Digger,” starring Tom Cruise. Besides that, he’s also working on a project to honor Mexican American artist Judy Baca.

Baca is best known for the mural “The Great Wall of Los Angeles,” which extends for over half a mile along the Tujunga Wash and depicts the complex history of California. Iñárritu and cinematographer Emmanuel Lubezki shot a piece on this major work that will be screened at Walt Disney Concert Hall on March 7, alongside a special concert put together by Gustavo Dudamel and Gabriela Ortiz, and featuring several guest composers.

“I want to showcase the work of Judy, a Chicana who was 50 years ahead of her time and told the story of California through her eyes. I want it to be a landmark in Los Angeles. I want people to say, ‘You can’t go to L.A. and not see this mural.’”

As part of the ongoing celebration of “Amores Perros,” MACK has published a book featuring essays, behind-the-scenes photos, and storyboards. A double vinyl compilation including Gustavo Santaolalla’s score, plus tracks by generation-defining Mexican rock bands like Control Machete and Café Tacvba, has also been recently released.

Iñárritu hadn’t seen the film in a theater in many years. But when he saw it again at the Cannes Film Festival last year, he was pleased to realize it maintains its potency.

“I was struck by how well the film holds up. And it’s not just because I made it. It still has a rhythm and a muscle. It hasn’t aged badly at all. On the contrary, it’s like a young old soul,” he says with a laugh.

“Sueño Perro” will be open to the public from Feb. 26 until July 26.

“Do you mind if I smoke?” asks German photographer Wolfgang Tillmans with a laugh during a recent video call from his home in Berlin.

As he lights his cigarette, he looks every bit the renegade artist he is known for being. At 57, Tillmans is in the midst of staging his 10th exhibition in Los Angeles since the mid-1990s at Regen Projects. He is one of the most celebrated photographers of his era, with a practice that collapses the distance between fine art and the pulse of street culture, spanning epic abstractions and the familiar textures of contemporary life.

At the same time, Tillmans has another life as a serious electronic musician, recording a series of experimental albums, including his most recent, 2021’s “Build From Here.” He is deeply connected to the music world, and photographed the cover for Frank Ocean’s acclaimed “Blonde,” making him a rare artist to be in major museums while genuinely engaged with popular music and the club scene — a bit of a rock star in his own right.

The official opening of his Regen show, “Keep Movin’,” attracted a line that wrapped around the building. Fans are drawn to his varied strands of work, which move instinctively between disparate approaches and subject matter, from famous faces to images sensitive to light and shape, in subjects as simple as the curve of paper folded softly over itself.

A security guard, right, stands near the work “Robin Fischer, Dirostahl, Remscheid 2024” in German-based photographer Wolfgang Tillmans’ current exhibition, “Keep Movin’,” at Regen Projects.

(Christina House / Los Angeles Times)

During an early walk-through for a few dozen invited guests, Tillmans held forth on his personal cosmos, surveying pictures from the experimental to the deeply intimate. Portraits, politically charged tabletop collages and quiet photographs that capture the simple vibrance of daily life are strewn across Regen’s 20,000 square feet of gallery space.

“I see my work evolve more in evolutions, rather than in revolutions,” Tillmans said, gesturing to a conceptual wall-sized image created with a photocopier.

His Regen show, through March 1, also features short video works and the abstractions of camera-less images he considers “pure photography,” created in the darkroom by shining light directly onto photosensitive paper. There are pictures relating to human sexuality and images from nature. Each subject and approach is an ongoing concern left intentionally open-ended, and never contained within a single project, title or grouping. They are all inseparable in his own mind, free from categories or a finite series of pictures.

“I am aware that these art historical categories exist in my oeuvre, but I’m not seeking them out,” Tillmans explained after the walk-through. His practice is not about “working through one series or genre and then moving on to another.”

Installation view of Wolfgang Tillmans’ “Keep Movin’” at Regen Projects.

(Evan Bedford / Regen Projects)

On his trip to Los Angeles, Tillmans made a long-planned visit to the Mt. Wilson Observatory to satisfy his lifelong interest in astronomy. He used the giant telescope to capture the twinkling of Sirius, the brightest star in the night sky. This preoccupation resurfaces at Regen in a large-scale print of 2023’s “Flight Honolulu to Guam,” revealing a star field above the clouds.

Tillmans’ interest in stargazing goes back to his adolescence, and images of the moon and cosmos recur in his work. “It gave me a sense of not being lonely, seeing the infinite sky and universe,” he says. “I always felt it was a very grounding experience that all humans share. I always got something from this — besides the beauty and the formal marvel of it all — this sense of location and locating myself.”

His depiction of the heavens is just one of many threads and themes that run through his decades of work.

A piece of work personally hung by photographer Wolfgang Tillmans in his current exhibition, “Keep Movin’” at Regen Projects.

(Christina House / Los Angeles Times)

Early in his career, Tillmans began shooting for the British street style magazine i-D, creating portraits of the famous and unfamous, while also documenting club life and gay culture. In 1995, Taschen published his first book, which made a stir with portraits of soft, indirect illumination, emphasizing naturalness. By avoiding the dramatic lighting and exaggerated special effects often seen in pictures of youth culture, he landed on a distinctive visual style.

“I felt the heaviness of life and the joy of life,” Tillmans says. “I saw myself as a multifaceted complex being, not just as young. So I experimented with lighting and film — how can I photograph my contemporaries in a way that approximates the way that I see through my eyes? And that was stripping back anything effectful, almost taking away the camera.”

He continues to do assignment work for magazines, which he considers part of his artistic practice. Several recent portraits are at Regen, including a foundry worker in Tillmans’ hometown of Remscheid and another of actor Jodie Foster. The editorial work brings him into contact with people and places he might not otherwise meet.

In 2000 Tillmans became the first photographer and first non-British artist to win the prestigious Turner Award. Tate Britain staged his mid-career retrospective in 2003 and the Hammer Museum in Westwood mounted his first major U.S. retrospective that same year, which traveled to Chicago’s Museum of Contemporary Art and the Hirshhorn Museum and Sculpture Garden in Washington, D.C.

Coming after major retrospectives at the Pompidou Centre in Paris last year and the Museum of Modern Art, New York City, in 2022, the Regen show dispenses with the retrospective frame while quietly performing a similar task — taking in the main currents of Tillmans’ work over the past two decades, and a few images dating to the late ‘80s. His relationship with the gallery began with his first Los Angeles exhibition.

Visitors walk through photographer Wolfgang Tillmans’ exhibition, “Keep Movin’,” at Regen Projects in Los Angeles.

(Christina House / Los Angeles Times)

As ever, the images are displayed in a startling range of shapes and sizes: framed and unframed, huge wall-size prints hang alongside tiny, snapshot-scale pictures. One of the largest, “Panorama, left” (2006), spans nearly 20 feet and hangs only from bulldog clips. Smaller pictures are simply taped to the wall, but nothing is meant to indicate hierarchy.

“The biggest may not be the most important, and the smallest might be overlooked,” he explains. “It’s a little bit like projecting the way that I look at the world.”

In his first decade of exhibitions, he had no frames at all. “I taped those photographs to the wall, not as a gesture of disrespectful grunginess, but as a gesture of purity,” he adds. “That sense of immediacy — and not imbuing something with outside signifiers of value — lets the fragile piece of paper speak for itself.”

One of the current show’s larger conceptual pieces, “Memorial for the Victims of Organized Religion II,” fills a corner with 48 rectangular portrait-sized photographs, all of them solid black or dark blue. It’s a near-replica of a work shown at the Pompidou with the same solemn title, created to recognize those “physically maimed or mentally harmed” by doctrine and intolerance.

“I myself have a spiritual side,” says Tillmans, still grateful for positive experiences attending a Lutheran church in his youth. “But over the years I’ve become ever more distrustful of organized religions and seeing the role of religion in government. I find it incredibly immodest for humans to tell other humans what God wants.”

When he’s not exploring his spirituality and creativity visually, he focuses his energy on the music world. It’s a natural setting for Tillmans, who is increasingly active releasing his own electronic-based pop music. He’s occasionally worked as a DJ, and has been involved in acid house, techno and other electronic music. Despite his notoriety in the art world, he has no concern about hitting the charts.

“This is part of my work. I’m doing it the same way that I’m doing a photograph. I’m not doing a photograph to be peak popular in two months’ time,” Tillmans said. “It’s there and it’s still there in 24 years.”

Last year, LAPD leaders quietly brought on a temporary consultant to advise on how to give the department’s battered public image a spit shine.

In a proposal reviewed by The Times, the consultant wrote that the LAPD’s standing as “one of the most prominent and visible law enforcement agencies in the world” was on the line.

The name of the person offering to help chart the path forward was not mentioned when the contract went before the Police Commission for approval. Nor did it come up Feb 3. when, after a heated debate, the City Council approved the creation of a new LAPD communications strategist role with an annual salary of $191,000.

LAPD Deputy Chief Jonathan Pinto, head of the Human Resources Bureau, acknowledged under questioning from council members that the department already had someone in mind for the role — but declined to say who.

Numerous department sources, who were not authorized to speak publicly about the confidential personnel matter, identified the candidate as the consultant: Robert Port, a filmmaker, writer and director who has worked for decades in Hollywood.

Port declined to comment, as did an LAPD spokesperson.

Winner of a 2003 Academy Award for his documentary short “Twin Towers,” about a pair of brothers — a policeman and a fireman — who responded to the World Trade Center on 9/11, Port has served as an executive producer or written for shows ranging from Amazon Prime’s “Jack Ryan” to “Numb3rs” on CBS.

A biography attached to his consulting proposal says he has been a reserve Los Angeles County sheriff’s deputy for the last decade. His ties to LAPD Chief Jim McDonnell and the city’s former top cop, William Bratton, date back years through shared East Coast roots.

In his consulting proposal, Port said he would “outline a forward-looking plan that strengthens messaging, builds trust, supports officer morale, and protects the LAPD’s image as the most professional and polished agency in the country.”

“In other words, let’s bring some luster back to the badge!” he wrote.

But the secrecy around Port’s hiring has already triggered fresh criticism, along with questions about whether the LAPD — which already has multiple officers working in its press shop — really needs more help communicating.

During the City Council hearing last week, Pinto said the department’s press shop would continue focusing on dealing with outside media inquiries, but that the new civil service-exempt role would draft “comprehensive integrated communication plans.”

Reporting directly to McDonnell, the position would allow the department to present a clear, unified message to the agency’s 8,700-some officers, said Pinto, while building “brand awareness” and boosting recruitment.

Several council members questioned how the new position might influence the LAPD’s messaging, noting that McDonnell has been out of lockstep with city leaders on issues such as the response to federal immigration enforcement and the use of force against protesters.

Others on the council pressed Pinto about what they saw as a lack of clarity on the job description.

“If we’ve got nothing to hide, then we shouldn’t be acting like we have something to hide,” said Councilmember Monica Rodriguez, adding that she was uncomfortable approving such a high salary given the city’s financial straits and the possibility of other civilian employees being furloughed.

The council eventually voted 10 to 5 to approve the position.

Port has kept a relatively low public profile since he started his consulting work last fall, mostly operating behind the scenes. Images posted on social media showed him walking around the crime scene at the Brentwood home of Rob Reiner, where authorities say the filmmaker and his wife were murdered by their son in December.

In his consulting proposal, Port cited conversations with McDonnell, Assistant Chief Dominic Choi and other department leaders in which they “emphasized the need for outside expertise in shaping the department’s image, both within the organization and to the public in all aspects of communication, video, and media.”

Among his proposals was to create a more “centralized” social media strategy rather than continuing to let the LAPD’s 21 stations spread across the city each handle their own online accounts.

“The goal is to maintain strong community engagement while also giving the LAPD a single, recognizable voice across all platforms and portraying its positive messaging to fellow Angelians.”

For decades, Hollywood helped sell the LAPD’s nationwide image as the epitome of professional law enforcement with shows such as “Dragnet,” “Adam-12” and “T.J. Hooker.” Today, Port said, that relationship was “less structured.” Using his industry background, he said, he could help the department better vet proposals, including a recent pitch from a major production company for a “ride-along”-style reality series.

He also suggested that he could advise a public relations firm previously hired by the LAPD to overhaul its marketing strategy. “Port’s experience in storytelling and award-winning creative expertise in advertising enable him to review these materials with a critical eye,” the proposal said.

Port’s four-month media consulting contract was paid for by a $20,000 donation from the Police Foundation, a nonprofit group that raises funds for LAPD equipment and offers other forms of support. The paperwork around the donation did not include Port’s name but said that the money would go to pay for a consultant “to develop forward-looking, integrated communications plan that strengthens messaging, builds trust, and supports officer morale.”

Then-Commissioner Erroll Southers voted against the contract, saying at the time he was uncomfortable with the department’s unwillingness to share details about the position — even with its civilian bosses.

The decision to try to bring on Port marks the latest shakeup of the department’s press office. The unit has had four different police captains in as many years, and the chief civilian spokesperson job has been vacant since the abrupt resignation of Jennifer Forkish last October.

Welcome to Black History Month, 2026 style.

President Trump posted a video Thursday to his social media site that contains animated images depicting former President Obama and First Lady Michelle Obama as apes.

The White House took down the post Friday, and after first calling it nothing more than a meme, they dubbed it a mistake by a staffer. Sure.

But while the justifiable outrage over this overt racism spins itself into a brief media circus (because we all know something else will come along is about three minutes), let’s look a bit deeper into why this video is more than an affront to everything America stands for, or should stand for, anyway.

It’s no accident that the images of the Obamas are embedded deep inside a video about voter fraud conspiracies from the 2020 election (which are untrue, if I need to say it again). This video is an escalation in the assault that is likely to come on voting rights and voting access in the midterms.

“Absolutely, there’s a connection to the vote,” Melina Abdullah told me Friday. She’s a professor at Cal State Los Angeles and co-founder of Black Lives Matter-LA.

“This is about more than just about the Obamas,” added Brian Levin, a professor Emeritus at California State University, San Bernardino, and founder of the Center for the Study of Hate and Extremism. “It’s about people that are (perceived as) undermining our elections and our democracy.”

I caught Levin the day after he turned in a chapter about authoritarianism for a new book, which happens to look at how discrimination and the imposition of social hierarchies ties in with power.

Let me summarize. Vulnerable groups are smashed down as dangerous and not fit to be full citizens, so a smaller group of elites can justify power by any means to protect society from these lowly and nasty influences.

Let me make that messaging even simpler: Black and brown people are bad and shouldn’t be allowed to participate in democracy because they don’t deserve the right.

How does that play out at the ballot box?

All that talk about voter identification and election integrity is really about stopping people from voting — people who legally have the right to vote. Those who are least likely to be able to obtain proof of citizenship — which might require a passport, or birth certificate along with the money and know-how to get such documents — are often Black or brown people. They are often also poor, or poorer, and therefore have less time and money to put into obtaining documents, and also live in urban areas where they share polling places.

Is it such a stretch to imagine some kind of federal oversight at those types of polling places, turning away — or simply intimidating away — legal voters who have long made up a strong block of the Democratic base?

Let’s hope that never happens. But the current undermining of the legitimacy of Black and brown voters is, said both Levin and Abdullah, systemic and concerning.

Trump’s latest video is “part of a floodgate of bigotry and conspiracy that relates to elections and immigrants and Black people and it’s important to condemn the manner in which these puzzle pieces are put together to label African Americans and immigrants as a threat to democracy with respect to the vote,” Levin said.

The premise of the video in question is that Democrats have engaged in a complicated and decades-long scheme to steal elections. It’s presented as a documentary, and the images of the Obamas have been weirdly inserted as almost a subliminal flash near the end.

If you’ve missed the white supremacist postings that have now become commonplace on official government communications such as those from the Departments of Labor and Homeland Security, let me assure you that Levin is right and this primate video is indeed part of a “firehose” of white nationalist rhetoric coming not just from Trump but from the federal government as a whole.

The Civil Rights Division of the U.S. Department of Justice, for example, has turned its focus toward punishing diversity, equity and inclusion. Just this week, another federal agency, the Equal Employment Opportunity Commission, began a probe against Nike for allegedly discriminating against white people in hiring.

“It has been not even a dog whistling, but a Xeroxing of the exact kind of terms that that I’ve been looking at on white supremacists and neo Nazi websites for decades,” Levin said.

It’s not my place or intent to warn Black people about racism, because that would be ludicrous and insulting, but I’ll warn the rest of us because in the end, authoritarianism targets everyone. This video is a clear statement that Trump’s vision of America is one in which every non-white group, every vulnerable group really, is a second class citizen.

“He’s enabling an entire group of people who want to take this country back to a time when rampant violent white supremacy was enabled in the law,” Abdullah said. “What they mean is recapturing an old school, oppressive racism that is pre-1965 pre-Voting Rights Act.”

That message, Levin said, has “a resonance with a decent part of his base,” and when fed ceaselessly into the system, can have violent outcomes.

Levin uses the example of when Trump tweeted during the protests over the killing of George Floyd, “When the looting starts, the shooting starts,” a phrase with a violent and racist history.

Levin said Black people have always been the primary targets of hate crimes in the United States, but after that tweet, it was some of the “worst days” for violence aimed by race.

“When a high transmitter, like a president, circulates imagery with regard to prejudice, it creates these stereotypes and conspiracy theories, which then are the groundwork for further conspiracy theories and aggression,” he added.

Abdullah said she worries that even if the voter crackdown isn’t officially sanctioned, those empowered conspiracy theorists will take action anyway.

“So the people who are so-called ‘monitoring,’ self-appointed monitors … this is who’s going to be pulling people out of voter lines, and so this is what he’s whipping up intentionally,” she said.

Keep your eye on the ball, folks, because the far-right Republicans running the show are laser-focused on it. The midterm elections have to go their way for them to remain in power.

The easiest way to ensure that outcome is to only allow voters who see things their way.

WASHINGTON — President Trump shared a short video clip on social media late Thursday depicting former President Obama and former First Lady Michelle Obama as apes, drawing immediate public backlash that the White House characterized as “fake outrage.”

The image, which Trump posted on his official Truth Social account around midnight, was included toward the end of a one-minute video clip that promoted a conspiracy theory about voting irregularities in the 2020 presidential election. In it, the Obamas are portrayed as apes as “The Lion Sleeps Tonight” plays in the background.

The White House said the clip was taken from “an internet meme video,” in which Trump is depicted as a lion and several high-profile Democrats — including former President Biden, former Vice President Kamala Harris, U.S. Sen. Adam Schiff and California Gov. Gavin Newsom — are rendered as giraffes, turtles, antelopes and other animals. The clip, which was shared by a social media account in October, is captioned: “President Trump: King of the Jungle.”

Only the image of the Obamas is included in the clip shared by Trump.

“Please stop the fake outrage and report on something today that actually matters to the American public,” Karoline Leavitt, the White House press secretary, said in a statement Friday.

The post, however, quickly drew fierce criticism from Democrats, some Republicans and civil rights organizations. The imagery was condemned for echoing long-standing racist tropes that have historically been used to demean Black Americans.

“Trump posting this video — especially during Black History Month — is a stark reminder of how Trump and his followers truly view people,” the NAACP wrote on X. “And we’ll remember that in November.”

Newsom, a Democrat, said it was “disgusting behavior by the president” to amplify such an image.

“Every single Republican must denounce this. Now,” Newsom wrote on X.

Sen. Tim Scott, a Black South Carolina Republican who is the chairman of the National Republican Senatorial Committee, said the image was “the most racist thing I’ve seen out of this White House.”

“The President should remove it,” Scott wrote on X.

Nancy Guthrie appeared to have been abducted just minutes after a security camera at her home was disabled, according to a new timeline officials shared in the case Thursday.

The new facts — including that blood found at her home belonged to the 84-year-old — were shared the day after her children made a desperate plea to a possible abductor or abductors to communicate with them.

Officials also announced a $50,000 reward for information leading to the recovery of the mother of “Today” show host Savannah Guthrie or to an arrest and conviction in the case.

“Right now we believe Nancy is still out there. We want her home,” Pima County Sheriff Chris Nanos said at a Thursday news conference. He said a massive team of local and federal partners are still “working round the clock.”

In a tearful video posted to Instagram Wednesday night, Savannah Guthrie and her two siblings begged for the return their mother and seemed open to communicating with her captors about a possible ransom.

“We live in a world where voices and images are easily manipulated. We need to know, without a doubt, that she is alive and that you have her,” Savannah Guthrie said. “We want to hear from you, and we are ready to listen. Please reach out to us.”

The heartbreaking video was the latest twist in a case that has captured the nation’s attention — with alleged ransom notes sent to media outlets and the president offering to deploy resources to help — as true crime crime fanatics and pundits speculate about the whodunit in real time.

Nancy Guthrie was first reported missing Sunday morning from her Tucson-area home after she didn’t show up for church. Almost immediately, family and officials noted suspicious circumstances, with the 84-year-old nowhere to be found, but her essentials — her cellphone, wallet, car and medications — still at home. Her family had last seen her around 9:30 p.m. Saturday night, officials have said.

Although she is of sound mind, Guthrie has physical ailments that keep her from walking very far and needs to take a daily medication that she appears to be without.

There was also evidence that someone had forced their way inside her home, according to law enforcement sources not authorized to discuss the case publicly. Images reviewed by The Times showed a trail of blood droplets near the front door of the home.

Officials have said they believe she was “taken from her home against her will.”

Several news outlets have also reported receiving possible ransom notes requesting money in exchange for Nancy Guthrie’s release. The Pima County Sheriff’s Department said it was aware of those notes but did not verify their authenticity.

As Guthrie described her mom in the video plea, she appealed to the humanity of her mother’s captors.

“She loves fun and adventure. She is a devoted friend. She is full of kindness and knowledge. Talk to her, and you’ll see,” Guthrie said through tears.

She also reiterated that her mom is without her medication that she needs “to survive and and she needs it not to suffer.”

Experts have called this case increasingly extraordinary, due to its circumstances but also because of decisions made by investigators.

Retired LAPD Lt. Adam Bercovici, who supervised the agency’s Special Investigation Section of Robbery Homicide Division which included kidnappings, said the usual playbook for handling such a case is already out the window because law enforcement typically tries to not share its involvement or pursuit of any suspects.

Bercovici said he was surprised that local officials initially called Guthrie “missing,” despite several pieces of early evidence pointed to an abduction. He was also surprised to see detectives returning to the crime scene after they initially cleared the home, appearing to do additional evidence gathering after family might have returned and reporters were all over the property.

“This is like something from 1940s with a very public kidnapping playing out in the media,” Bercovici said. It was also surprising, he said, that alleged kidnappers have sent ransom notes to the media and not directly to the family or someone who could pay.

While unusual, Horace Frank, the former assistant chief of the Los Angeles Police Department who oversaw kidnapping investigations, said he was glad the entire note wasn’t disclosed publicly.

Given the circumstances, he understands why the family came out with the video plea.

“They are appealing to the humane side of whoever the abductors [is] or someone who has some kind knowledge,” Frank said. “You are trying to make it difficult for the those behind this.”

The Guthrie siblings, in the video, also appealed directly to their mom.

“Mama, if you’re listening, we need you to come home,” Annie Guthrie said. “We miss you.”

“We will not rest, your children will not rest, until we are together again,” Savannah Guthrie said.

Interiority is a concept that multimedia artist Sarah Sze has been fixating on lately.

“So much of what we experience is actually interior,” Sze said in a recent video interview. “We’ve become so exterior focused. We’re so outward looking.”

At a time when it’s all too easy to consume a never-ending stream of social media images, the celebrated New York-based artist is more interested in scrolling through the images stored inside her own mind.

Her new show, “Feel Free,” champions the mind’s eye, in all its random, fragmented glory. It brings a collection of new paintings and two immersive video installations to Gagosian Beverly Hills.

Sze is known for her unconventional sculptures and large-scale paintings, which she’s shown in such venues as the Museum of Modern Art, LACMA and the U.S. Pavilion at multiple Venice Biennales. In 2023, she left her mark on both the inside halls and the exterior walls of the Guggenheim Museum, and her public sculptures have transformed a grassy hillside as well as a pine grove and an international airport.

Sarah Sze’s Gagosian Beverly Hills show “Feel Free” is meant to feel intimate.

(Ariana Drehsler/For The Times)

At the Gagosian show, Sze leaned into the intimate and fragile, while continuing her signature experimental streak.

In one of her newest pieces, “Once in a Lifetime” — part sculpture, part video display — precarious clusters of bric-a-brac form a mechanical marvel that appears to defy gravity.

A stack of small projectors is cradled inside of a fantastical tower fashioned out of crisscrossed tripods, metal poles and ladders festooned with an assemblage of toothpick structures, empty cardboard containers that once held crayons and Lactaid, dangling prisms, arts & crafts scraps, and paper cut-outs of deer and wolves (figures that appear throughout the show).

The bare gallery walls surrounding the monument flash with rotating projections of construction sites where buildings are being erected and demolished, clouds drifting across tranquil blue skies, and city lights twinkling then slowly dissolving into floating fractals. The Dadaist piece is every bit as off-kilter and fascinating as the Talking Heads song that inspired its title.

“Once in a Lifetime” is part video display and part sculpture, made of tripods, toothpicks, lights, cardboard boxes and projectors that flicker images on the gallery walls. (Ariana Drehsler/For The Times)

“The most important thing about my show is that I hope it’s really challenging and exciting and gives young artists license to do what they want to do,” Sze said.

“When they come in and say, ‘Wait … I didn’t know you could put up toothpicks going to the ceiling and throw a video through it and make it into a movie. I didn’t know you could put a pile of things on the floor in front of a painting.’ It’s like, ‘OK! Yes, you can!’”

Meanwhile, large canvases in the main gallery space are covered with oil and acrylic paints and printed backdrops dotted with an assortment of images: sleeping female figures; hands pointing, drawing and flashing peace signs; the sun at different stages of setting; birds in flight; wolves and deer in their natural habitats. Layered on top are paint splotches and streaks, as well as taped-on paper and vellum, blurring and obscuring the collage of figures underneath.

“Escape Artist,” left, “White Night” and “Feel Free,” are new paintings by Sarah Sze at Gagosian Beverly Hills.

(Ariana Drehsler/For The Times)

“One of the things I was thinking about was when we dream and then we wake up, there’s this extreme, fleeting moment where you’re trying to grasp the dream,” Sze said. “The dream is disappearing at the same time, and you’re trying to re-create those images.”

She went on to describe “a landscape turning into a different landscape, and then you’re falling, and then you’re turning, and then someone appears that you didn’t expect to be there.”

In addition to this spree of the subconscious, the artist offers glimpses of her creative process. Pooled on the ground below the canvases (and even dangling from the rafters above) is an assortment of the tools of her trade — from tape measures to paint scrapers. Brushes, pens and pencils lie next to the ripped cuffs of cotton workshirts, and drops of blue and white paint are splattered on the floor, extending the artwork beyond the wall.

Sze spent five days installing the show inside the gallery and the commonplace supplies incorporated into the pieces are what she dubbed “remnants of the workspace.”

“Sleepers,” a video installation Sze debuted in 2024, plays with the light entering through a gallery window. Images of sleeping heads and forest animals play amid the sound of cello notes and deep breathing.

(Ariana Drehsler/For The Times)

If the paintings act as snapshots of dreamscapes, “Sleepers,” the video installation she debuted in 2024, sets those images in motion. Dozens of hand-torn paper fragments connected by rows of string become miniature projection screens, each flashing with images of the same sleeping heads, busy hands and forest animals. These are interspersed with flashes of TV static and ocean waves, all set to the sounds of humming, disjointed cello notes and deep breathing.

Directly in the center, a slender vertical window — part of the gallery’s architecture — illuminates the otherwise darkened room with a pillar of natural light, further contributing to the ethereal nature of the piece.

Viewed at the right angle, the piece resembles a giant eye. It’s the perfect visual cue to get visitors thinking about what we see and how we see it.

The Trump administration has not shied away from sharing AI-generated imagery online, embracing cartoonlike visuals and memes and promoting them on official White House channels.

But an edited — and realistic — image of civil rights attorney Nekima Levy Armstrong in tears after being arrested is raising new alarms about how the administration is blurring the lines between what is real and what is fake.

Department of Homeland Security Secretary Kristi Noem’s account posted the original image from Levy Armstrong’s arrest before the official White House account posted an altered image that showed her crying. The doctored picture is part of a deluge of AI-edited imagery that has been shared across the political spectrum since the fatal shootings of U.S. citizens Renee Good and Alex Pretti by U.S. Border Patrol officers in Minneapolis

However, the White House’s use of artificial intelligence has troubled misinformation experts who fear the spreading of AI-generated or AI-edited images erodes public perception of the truth and sows distrust.

In response to criticism of the edited image of Levy Armstrong, White House officials doubled down on the post, with Deputy Communications Director Kaelan Dorr writing on X that the “memes will continue.” White House Deputy Press Secretary Abigail Jackson also shared a post mocking the criticism.

David Rand, a professor of information science at Cornell University, says calling the altered image a meme “certainly seems like an attempt to cast it as a joke or humorous post, like their prior cartoons. This presumably aims to shield them from criticism for posting manipulated media.” He said the purpose of sharing the altered arrest image seems “much more ambiguous” than the cartoonish images the administration has shared in the past.

Memes have always carried layered messages that are funny or informative to people who understand them, but indecipherable to outsiders. AI-enhanced or AI-edited imagery is just the latest tool the White House uses to engage the segment of Trump’s base that spends a lot of time online, said Zach Henry, a Republican communications consultant who founded Total Virality, an influencer marketing firm.

“People who are terminally online will see it and instantly recognize it as a meme,” he said. “Your grandparents may see it and not understand the meme, but because it looks real, it leads them to ask their kids or grandkids about it.”

All the better if it prompts a fierce reaction, which helps it go viral, said Henry, who generally praised the work of the White House’s social media team.

The creation and dissemination of altered images, especially when they are shared by credible sources, “crystallizes an idea of what’s happening, instead of showing what is actually happening,” said Michael A. Spikes, a professor at Northwestern University and news media literacy researcher.

“The government should be a place where you can trust the information, where you can say it’s accurate, because they have a responsibility to do so,” he said. “By sharing this kind of content, and creating this kind of content … it is eroding the trust — even though I’m always kind of skeptical of the term trust — but the trust we should have in our federal government to give us accurate, verified information. It’s a real loss, and it really worries me a lot.”

Spikes said he already sees the “institutional crises” around distrust in news organizations and higher education, and feels this behavior from official channels inflames those issues.

Ramesh Srinivasan, a professor at UCLA and the host of the “Utopias” podcast, said many people are now questioning where they can turn to for “trustable information.” “AI systems are only going to exacerbate, amplify and accelerate these problems of an absence of trust, an absence of even understanding what might be considered reality or truth or evidence,” he said.

Srinivasan said he feels the White House and other officials sharing AI-generated content not only invites everyday people to continue to post similar content but also grants permission to others who are in positions of credibility and power, such as policymakers, to share unlabeled synthetic content. He added that given that social media platforms tend to “algorithmically privilege” extreme and conspiratorial content — which AI generation tools can create with ease — “we’ve got a big, big set of challenges on our hands.”

An influx of AI-generated videos related to Immigration and Customs Enforcement action, protests and interactions with citizens has already been proliferating on social media. After Good was shot by an ICE officer while she was in her car, several AI-generated videos began circulating of women driving away from ICE officers who told them to stop. There are also many fabricated videos circulating of immigration raids and of people confronting ICE officers, often yelling at them or throwing food in their faces.

Jeremy Carrasco, a content creator who specializes in media literacy and debunking viral AI videos, said the bulk of these videos are likely coming from accounts that are “engagement farming,” or looking to capitalize on clicks by generating content with popular keywords and search terms such as ICE. But he also said the videos are getting views from people who oppose ICE and DHS and could be watching them as “fan fiction,” or engaging in “wishful thinking,” hoping that they’re seeing real pushback against the organizations and their officers.

Still, Carrasco also believes that most viewers can’t tell if what they’re watching is fake, and questions whether they would know “what’s real or not when it actually matters, like when the stakes are a lot higher.”

Even when there are blatant signs of AI generation, like street signs with gibberish on them or other obvious errors, only in the “best-case scenario” would a viewer be savvy enough or be paying enough attention to register the use of AI.

This issue is, of course, not limited to news surrounding immigration enforcement and protests. Fabricated and misrepresented images following the capture of deposed Venezuelan leader Nicolás Maduro exploded online earlier this month. Experts, including Carrasco, think the spread of AI-generated political content will only become more commonplace.

Carrasco believes that the widespread implementation of a watermarking system that embeds information about the origin of a piece of media into its metadata layer could be a step toward a solution. The Coalition for Content Provenance and Authenticity has developed such a system, but Carrasco doesn’t think that will become extensively adopted for at least another year.

“It’s going to be an issue forever now,” he said. I don’t think people understand how bad this is.”

Huamani writes for the Associated Press. AP writers Jonathan J. Cooper in Phoenix and Barbara Ortutay in San Francisco contributed to this report.