Santa Anita’s experiment of placing a similar version of Historical Horse Racing at the race track on Thursday came to an abrupt halt on Saturday afternoon when law enforcement officials physically removed the machines after racing ended.
Two officials at Santa Anita confirmed that representatives of the state Department of Justice removed the betting machines that were installed on Wednesday and have been confiscated and removed from the track.
According to eyewitnesses a representative of the Arcadia Police Department, along with several law enforcement officers with patches that read “California Department of Justice Attorney General,” came into the grandstand area where the Racing on Demand machines were located and unplugged them, placed them on handcarts and removed them from the building.
The employees working in the area were told to leave as about 15 officers confiscated the machines, including all the cash in the machines.
The machines, which allow people to bet on past horse races in a slot-machine-type format, were put into the grandstand area of Santa Anita on Thursday with no notice. Santa Anita did not advertise the machines or mention it in its fan newsletter. It was called a soft opening. The move to install the machines came without advance notice to the California Horse Racing Board.
It’s unclear who or what precipitated the removal but the tribes, which control most non-pari-mutuel wagering in the state, told The Times that it would have a “full throated” response to the installation of the machines, which it says violates the tribal compact on gambling. The tribes are a very powerful force in state politics and contribute millions of dollars to political candidates.
A tribal leader who specializes in gambling did not respond to a message.
Santa Anita believes the machines, which offer first, second and third betting on three past races, does not violate the rules for pari-mutuel gambling. The tribes contend the slot-machine-like machines are a game of chance and under its purview. Santa Anita says because the mutuel pool is not held in-house but between bettors that it is a game of skill and allowed.
No doubt this is headed for litigation and the fact that the machines were removed so quickly by the state attorney general’s office might tip which side has the early edge. The consortium that was trying to bring this type of wagering to California said it sent a copy of its legal opinion to the attorney general in advance of the installation.
The CHRB also called for a legal opinion on the issue although the contents have not been made public.
At stake is the future of California racing. The state is one of the few that receives no supplemental income from casino-type gambling. Historical Horse Racing, allowing people to bet on past races with little handicapping information, has greatly increased purses in Kentucky and other states, where it is legal.
California is at a big disadvantage in purses because it does not have the supplemental income. Santa Anita has not disclosed how much of this type of wagering would go to purses.
Santa Fe, N.M. — Meow Wolf is coming to Los Angeles. And with its move to the Southland, the experiential art collective isn’t just taking over a former movie theater, it is, in a sense, placing a skewed spotlight on Hollywood’s grandiosity itself.
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Born in Santa Fe, N.M., more than a decade ago, Meow Wolf’s fast-tracked rise has taken the company to Denver, Las Vegas, Houston and the Dallas suburbs. Along the way the firm has skirted the line between theme park-like interactive experiences and hand-made, outsider art, pitching itself as a new form of all-encompassing, maximalist, sensory overloaded entertainment — or, in the words of one of its creative directors, “that classic feeling of good confusion.”
Destined to open in late 2026 at West L.A.’s Howard Hughes entertainment complex, Meow Wolf has kept much of its plan for Los Angeles under wraps. Until now.
Meow Wolf arist Chris Hilson spins a hanging mobile. Hilson is working on multiple pieces for Meow Wolf Los Angeles.
(Gabriela Campos / For The Times)
A work in progress piece by Los Angeles collective Everything Is Terrible. “Los Angeles is a city built on madness, dreams — broken and realized — and most importantly, simulacra. With this work, we are confronting propaganda, competing narratives, forgotten labor and myths that refuse to die,” said the group in a statement.
(Gabriela Campos/For The Times)
It’s been known that the installation would be taking over a large section of what had long been the Cinemark movie theaters. Meow Wolf, however, is using the location to lean into one of L.A’s longest standing — and currently troubled — ritualistic experiences. In the same way exhibitions in Santa Fe or Las Vegas begin in an otherworldly house or an extraordinary grocery store before getting truly psychedelic, Meow Wolf Los Angeles will launch via a fantastical movie theater, one complete with a concession stand — beware of the animated, sentient candy — and a grand auditorium. Here, describes co-founder and executive vice president Sean Di Ianni, guests may spy transparent seats that appear to be floating.
“Over your head will be etherealized seats — sculptures of these kind of translucent seats that will be animated with light and hyper-directional sound,” Di Ianni says. “You might hear the inner monologue of a previous audience.”
Sean Di Ianni, co-founder of Meow Wolf, is leading development of the Los Angeles space, which is taking over part of Cinemark movie theaters at the Howard Hughes entertainment complex.
(Robert Gauthier/Los Angeles Times)
A view into the Meow Wolf warehouse during a walk through of new art projects that will be featured in Meow Wolf L.A.
(Gabriela Campos/For The Times)
When Meow Wolf announced Los Angeles as its next destination for a full-scale, walk-through exhibition in 2024, it did so during a time of tumult, the company having just undergone a round of severe layoffs. And thus, Los Angeles became not just Meow Wolf’s next step but its rebirth.
During a two-day tour of Meow Wolf’s Santa Fe headquarters late last year, the company unveiled multiple pieces of art in various stages of planning, with installation in Los Angeles set to ramp up in the coming weeks. Though Meow Wolf is keeping certain story elements off the record for now, and some plans may shift as art is completed, expect an exhibit based around an intergalactic roadside attraction, a location destined for a pilgrimage. Throughout, guests will explore the hulls of a spaceship, hop on planet-traversing bikes and uncover a divey greasy spoon at the end of the galaxy, complete with sculptures of the proprietor at various stages of his life.
Artist Karen Lembke looks to see how the cape falls for a piece destined for Meow Wolf Los Angeles.
(Gabriela Campos/For The Times)
But by grounding it in the nostalgia and timeless appeal of a movie theater, the hope is to also learn some lessons from more linear entertainment. “We pushed really hard on this one to take that story experience to the next level,” says Shakti Howeth, creative director. “We got so much feedback from other shows that people want more of that. They want it to make sense. They want to understand it. They want to think about it afterwards. They want to grab onto certain characters.”
Thus, it will be Meow Wolf’s first exhibition with a firm beginning, middle and conclusion, even if the latter is a bit open-ended. Meow Wolf is known for its byzantine tales, but here the company is aiming to simplify, zeroing in on a story that coalesces around our instinct for a rite of passage. Think, for instance, of the way humans may trek to witness a newborn panda, or similarly cross the globe to capture the aurora borealis. Locally, ceremonial destinations such as Disneyland or the corner chapel spring to mind — anywhere people gather craving community, connection, reverence and, hopefully, a revelation.
Though narrative plans date to 2022, before Los Angeles was chosen as the locale, once the team knew it was moving into a former movie theater it was sold on the concept. That’s in part due to the transcendent nature of cinema, but also a recognition of what Los Angeles represents culturally.
“It’s cool that we’re creating a story about a pilgrimage because L.A. is that for so many artists, especially people involved in storytelling,” says Howeth. “It’s one of those places that’s built on layers and layers of dreams, and we’re really exploring that here. Not only dreams, but broken dreams — the compost that can happen when you digest broken dreams.”
It’s not the only way the exhibition hopes to reflect Los Angeles. Throughout, we’ll follow the lives of three characters, some known to Meow Wolf die-hards and some new creations, such as a Boyle Heights-raised usher. Elsewhere, an installation bathed in neon and shape-shifting projections nods to Frank Lloyd Wright’s Ennis House. And Meow recently completed the filming of multiple short movies that serve as cinematic parodies — a Bob Fosse-inspired musical, a Clint Eastwood-style western, a “Lethal Weapon”-like action flick and more. They’ll be shown throughout the space, and expect to encounter characters possessing a cult-like obsession to the films.
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1.Work in progress pieces by aritst Jess Webb.2.Costumes by Emmanuelle John.3.Chris Hilson’s space bike model.(Gabriela Campos/For The Times)
It isn’t lost on Meow Wolf creatives that they’re dabbling in themes of religious-like devotion to the art of storytelling at a time when Hollywood is in flux. The very venue for the exhibition, for instance, was open to the team largely because of the struggles that movie theaters have had to confront.
Early concepts had the exhibition starting, perhaps, in a motel, or a work that nodded to L.A.’s Midcentury architecture. “But being in L.A., a number of sites, due to the dire state of the movie theater business right now, were movie theaters,” says James Longmire, who works on Meow Wolf’s story development. “So why not a movie theater? Why not lean into that? In my mind, that immediately started to connect and feel a lot more resonant to this idea of art and story being important forces in humanity and human growth and how we grapple with not having answers to big questions.”
An art installation, partly inspired by Frank Lloyd Wright’s Ennis House, is planned for Meow Wolf Los Angeles.
(Gabriela Campos / For The Times)
And it will be interactive. A spiritual temple, for instance, will house a secretive space that Meow Wolf creatives refer to as a “reverse escape room,” in which guests will have to work together to find and break into. Creative director Elizabeth Jarrett, who worked on Scout Expedition’s long-running immersive L.A. show “The Nest,” is helping to devise a handful of quests and what Meow Wolf is calling “story moments,” which will take over an entire space. Lighting and visual cues, for instance, may direct audience members to collaborate or reposition themselves — a psychic motel room, perhaps, where a tree has grown into a couch. Sit in the right spot and cause the room to come alive with projections and cinematics.
It was important, says Jarrett, for the so-called story moments to be triggered by the audience. “The audience has a sense of agency in the story advancing,” Jarrett says. “We’re communicating when an opportunity is arising for you to choose to engage. The guests are a protagonist and a character as much as any other character in this world. There are characters who speak directly to the audience. We’re experimenting with breaking the fourth wall.”
Not all of the art, of course, will reference film. Meow Wolf is planning, for example, a two-player game in which tarot cards will be digitally constructed exquisite corpse-style. And art curator AJ Girard is working closely with dozens of L.A. artists to bring them into the space. Gabriela Ruiz is one such artist who will have a large presence in the exhibition, a part of Ruiz’s work being an adorably vibrant, multicolored insect that will serve as a periscope.
“I thought about a little bug because they have the ability to see infrared and visualize the world differently than we do,” Ruiz says.
Girard, too, views the space as something of a commentary on L.A. “Social media and social capital is so relevant in our city,” Girard says. “How do we make fun of it in an avant garde, punk, radical way? How do we poke holes at it?”
Meow Wolf Los Angeles will house a cafe that will feature neon art.
(Gabriela Campos/For The Times)
It won’t be easy, especially for a city that sometimes takes its main, exportable art a bit too self-serious. But if Los Angeles has long viewed the movie theater as a temple, perhaps it’s time someone turns one into a playground.
“It’s partly our job to be playful with it, to not let that weight crush us,” Di Ianni says. “Let’s poke fun at movies. Let’s celebrate them. Let’s have fun with the reputation of Los Angeles and its insane impact. We have to play. That’s what we’re inviting the audience to come in to do. They’ll hopefully have meaningful, emotionally resonant experiences that show them a different perspective on their own stories, but to get them there, they’re going to have to play.”
There was no shortage of engrossing art with which to engage in Southern California museums during the past year, although the considerable majority of it had been made only within the past 50 years or so. Art’s global history before the Second World War continues to play a decided second fiddle to contemporary art in special exhibitions.
Our picks for this year’s best in arts and entertainment.
The chief exception: the Getty, where its Brentwood anchor and Pacific Palisades outpost accounted for three of the 10 most engrossing museum exhibitions in 2025, all 10 presented here in order of their opening dates. (Four are still on view.)
Art museums across the country continue to struggle in attendance and fundraising after the double-whammy of the lengthy COVID-19 pandemic shut-down followed by culture war attacks from the Trump administration. That may help explain the unusually lengthy, seven- to 14-month duration of half of these shows.
Gustave Caillebotte, “Floor Scrapers,” 1875, oil on canvas.
(Musée d’Orsay )
Gustave Caillebotte: Painting Men. Getty Center
An emphasis on men’s daily lives is very unusual in French Impressionist art. Women are more prominent as subject matter in scores of paintings by marquee names like Monet, Cassatt and Degas. But homosocial life in late-19th century Paris was the fascinating focus of this show, the first Los Angeles museum survey of Gustave Caillebotte’s paintings in 30 years.
A view into a dance gallery is framed by Guadalupe Rosales’ “Concourse/C3” installation.
(Christopher Knight / Los Angeles Times)
Guadalupe Rosales – Tzahualli: Mi Memoria en Tu Reflejo. Palm Springs Art Museum
Vibrant Chicano youth subcultures of 1990s Los Angeles, during the fraught era of Rodney King and the AIDS epidemic, are embedded in the art of one of its enthusiastic participants. Guadalupe Rosales layers her archival work onto pleasure and freedom today, as was seen in this vibrant exhibition, offering a welcome balm during another period of outsized social distress.
Don Bachardy, “Christopher Isherwood,” June 20, 1979; acrylic on paper.
(Don Bachardy Paper / Huntington Library)
Don Bachardy: A Life in Portraits. The Huntington
The nearly 70-year retrospective of portrait drawings in pencil and paint by Los Angeles artist Don Bachardy revealed the works to be like performances: Both artist and sitter participated in putting on a pictorial show. The extended visual encounter between two people, its intimacy inescapable, culminates in the two “actors” autographing their performed picture.
“Probably Shakyamuni, the Historical Buddha,” China, Tang Dynasty, circa 700-800; marble.
(Christopher Knight / Los Angeles Times)
Realms of the Dharma: Buddhist Art Across Asia. LACMA. Through July 12
“Realms of the Dharma” isn’t exactly an exhibition. Instead, it’s a temporary, 14-month installation of Buddhist sculptures, paintings and drawings from the museum’s impressive permanent collection, plus a few additions. It’s worth noting here, though, because almost all of its marvelous pieces were in storage (or traveling) for more than seven years, during the lengthy tear-down of a prior LACMA building and construction of a new one, and much of it will disappear again when the installation closes next summer.
Noah Davis, “40 Acres and a Unicorn,” 2007, acrylic and gouache on canvas.
(Anna Arca)
Noah Davis. UCLA Hammer Museum
A tight survey of 50 works, all made by Noah Davis in the brief span between 2007 and the L.A.-based artist’s untimely death in 2015 at just 32, told a poignant story of rapid artistic growth brutally interrupted. Davis was a painter’s painter, a deeply thoughtful and idiosyncratic Black voice heard by other artists and aficionados, even while still in invigorating development.
Weegee (Arthur Fellig), “The Gay Deceiver, 1939/1950, gelatin silver print. Getty Museum
(Getty Museum)
Queer Lens: A History of Photography. Getty Center
Assembling some 270 photographs from the 19th and 20th centuries, “Queer Lens” looked at work produced after the 1869 invention of the binaries of “heterosexual and homosexual,” just a short generation after the 1839 invention of the camera. Transformations in the expression of gender and sexuality by scores of artists as well-known as Berenice Abbott, Anthony Friedkin, Robert Mapplethorpe, Man Ray and Edmund Teske were tracked along with more than a dozen unknowns.
“Sealstone With a Battle Scene (The Pylos Combat Agate),” Minoan, 1630-1440 BC; banded agate, gold and bronze.
(Jeff Vanderpool)
The Kingdom of Pylos: Warrior-Princes of Ancient Greece. Getty Villa. Through Jan. 12
The star of this look into the ancient, not widely known Mycenaean kingdom of Pylos was a tiny agate, barely 1.3 inches wide, making its public debut outside Europe. The exquisitely carved stone, unearthed by archaeologists in 2017, shows two lean but muscled warriors going at it over the sprawled body of a dead comrade. Perhaps made in Crete, the idealized naturalism of a battle scene rendered in shallow three-dimensional space threw a stylistic monkey-wrench into our established understanding of Greek culture 3,500 years ago.
Ken Gonzales-Day digitally erased Illinois Black lynching victim Charlie Mitchell from an 1897 postcard to focus instead on the perpetrators.
(USC Fisher Museum of Art)
Ken Gonzales-Day: History’s “Nevermade.” USC Fisher Museum of Art. Through March 14
The ways in which identities of race, gender and class are erased in a society dominated by straight white patriarchy animates the first mid-career survey of Los Angeles–based artist Ken Gonzales-Day. The riveting centerpiece is his extensive meditation on the American mass-hysteria embodied by the horrific practice of lynching, in which Gonzales-Day employed digital techniques to erase the brutalized victims (and the ropes) in grisly photographs of the murders. Focus shifts the viewer’s gaze toward the perpetrators — an urgent and timely transference, given the shredding of civil society underway today.
Kara Walker deconstructed a monument to Confederate Gen. Stonewall Jackson for “Unmanned Drone,” as seen at the Brick gallery as part of “Monuments.”
(Etienne Laurent / For The Times)
Monuments. The Geffen Contemporary at MOCA and the Brick. Through May 3
The nearly two-year delay in opening “Monuments,” an exhibition of toppled Confederate and Jim Crow statues that pairs cautionary art history with thoughtful and poetic retorts by a variety of artists, turned out to give the much anticipated undertaking an especially potent punch. As the Trump Administration restores a white supremacist sheen to “Lost Cause” mythology by renaming military installations after Civil War traitors and returning sculptures and paintings of them to prior perches, from which they had been removed, this sober and incisive analysis of what’s at stake is nothing less than crucial.
Peak moment: As a metaphor of white supremacy, Kara Walker’s transformation of the ancient “man on a horse” motif into a monstrous headless horseman — a Euro-American corpse that tortures the living and refuses to die — resonates loudly.
Installation view of sculptures and a painting by Robert Therrien at the Broad.
(Joshua White / Broad museum)
Robert Therrien: This Is a Story. The Broad. Through April 5
The late Los Angeles-based artist Robert Therrien (1947-2019) had a distinctive, even quirky capacity for teasing out a conceptual space between ordinary domestic objects and their mysterious personal meanings. In 120 paintings, drawings, photographs and especially sculptures, this Therrien exhibition offers objects hovering somewhere between immediately recognizable and perplexingly alien, wryly funny and spiritually profound.
