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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.

NEW YORK — The Senate’s top Democrat urged his colleagues Monday to take legal action over the Justice Department’s incremental and heavily redacted release of records pertaining to the late sex offender Jeffrey Epstein.

Minority Leader Chuck Schumer introduced a resolution that, if passed, would direct the Senate to file or join lawsuits aimed at forcing the Justice Department to comply with the Epstein Files Transparency Act, the law enacted last month that required disclosure of records by last Friday.

“Instead of transparency, the Trump administration released a tiny fraction of the files and blacked out massive portions of what little they provided,” Schumer (D-N.Y.) said in a statement. “This is a blatant cover-up.”

In lieu of Republican support, Schumer’s resolution is largely symbolic. The Senate is off until Jan. 5, more than two weeks after the deadline. Even then, the resolution will likely face an uphill battle for passage. But it allows Democrats to continue a pressure campaign for disclosure that Republicans had hoped to put behind them.

The Justice Department said it plans to release records on a rolling basis by the end of the year. It blamed the delay on the time-consuming process of obscuring victims’ names and other identifying information. So far, the department hasn’t given any notice when new records arrive.

That approach angered some accusers and members of Congress who fought to pass the transparency act. Records that were released, including photographs, interview transcripts, call logs, court records and other documents, were either already public or heavily blacked out, and many lacked necessary context.

There were few revelations in the tens of thousands of pages of records that have been released so far. Some of the most eagerly awaited records, such as FBI victim interviews and internal memos shedding light on charging decisions, weren’t there.

Nor were there any mentions of some powerful figures who’ve been in Epstein’s orbit, like Britain’s former Prince Andrew.

Deputy Atty. Gen. Todd Blanche on Sunday defended the Justice Department’s decision to release just a fraction of the files by the deadline as necessary to protect survivors of sexual abuse by the disgraced financier.

Blanche pledged that the Trump administration would meet its obligation required by law. But he stressed that the department was obligated to act with caution as it goes about making public thousands of documents that can include sensitive information.

Blanche, the Justice Department’s second-in-command, also defended its decision to remove several files related to the case from its public webpage, including a photograph showing Donald Trump, less than a day after they were posted.

The missing files, which were available Friday but no longer accessible by Saturday, included images of paintings depicting nude women, and one of a series of photographs along a credenza and in drawers. In that image, inside a drawer among other photos, was a photograph of Trump, alongside Epstein, Melania Trump and Epstein’s longtime associate, Ghislaine Maxwell.

Blanche said the documents were removed because they also showed victims of Epstein. Blanche said the Trump photo and the other documents will be reposted once redactions are made to protect survivors.

“We are not redacting information around President Trump, around any other individual involved with Mr. Epstein, and that narrative, which is not based on fact at all, is completely false,” Blanche told NBC’s “Meet the Press.”

Blanche said Trump, a Republican, has labeled the Epstein matter “a hoax” because “there’s this narrative out there that the Department of Justice is hiding and protecting information about him, which is completely false.”

“The Epstein files existed for years and years and years and you did not hear a peep out of a single Democrat for the past four years and yet … lo and behold, all of a sudden, out of the blue, Senator Schumer suddenly cares about the Epstein files,” Blanche said. “That’s the hoax.”

Sisak and Neumeister write for the Associated Press. AP reporter Kevin Freking in Washington contributed to this report.

NEW YORK — At least 16 files disappeared from the Justice Department’s public webpage for documents related to Jeffrey Epstein — including a photograph showing Donald Trump — less than a day after they were posted, with no explanation from the government and no notice to the public.

The missing files, which were available Friday and no longer accessible by Saturday, included images of paintings depicting nude women, and one showing a series of photographs along a credenza and in drawers. In that image, inside a drawer among other photos, was a photograph of Trump, alongside Epstein, Melania Trump and Epstein’s longtime associate and accomplice, Ghislaine Maxwell.

The Justice Department didn’t answer questions Saturday about why the files disappeared but said in a post on X that “photos and other materials will continue being reviewed and redacted consistent with the law in an abundance of caution as we receive additional information.”

Online, the unexplained missing files fueled speculation about what was taken down and why the public was not notified, compounding long-standing intrigue about Epstein and the powerful figures who surrounded him. Democrats on the House Oversight Committee pointed to the missing image featuring a Trump photo in a post on X, writing: “What else is being covered up? We need transparency for the American public.”

The episode deepened concerns that had already emerged from the Justice Department’s much-anticipated document release. The tens of thousands of pages made public offered little new insight into Epstein’s crimes or the prosecutorial decisions that allowed him to avoid serious federal charges for years, while omitting some of the most closely watched materials, including FBI interviews with victims and internal Justice Department memos on charging decisions.

Scant new insight in the disclosures

Some of the most consequential records expected about Epstein are nowhere to be found in the Justice Department’s initial disclosures, which span tens of thousands of pages.

Missing are FBI interviews with survivors and internal Justice Department memos examining charging decisions — records that could have helped explain how investigators viewed the case and why Epstein was allowed in 2008 to plead guilty to a relatively minor state-level prostitution charge.

The gaps go further.

The records, required to be released under a recent law passed by Congress, hardly reference several powerful figures long associated with Epstein, including Britain’s former Prince Andrew, renewing questions about who was scrutinized, who was not and how much the disclosures truly advance public accountability.

Among the fresh nuggets: insight into the Justice Department’s decision to abandon an investigation into Epstein in the 2000s, which enabled him to plead guilty to that state-level charge, and a previously unseen 1996 complaint accusing Epstein of stealing photographs of children.

The releases so far have been heavy on images of Epstein’s homes in New York City and the U.S. Virgin Islands, with some photos of celebrities and politicians.

There was a series of never-before-seen photos of former President Clinton but fleetingly few of Trump. Both have been associated with Epstein but both have since disowned those friendships. Neither has been accused of any wrongdoing in connection with Epstein, and there was no indication the photos played a role in the criminal cases brought against him.

Despite a Friday deadline set by Congress to make everything public, the Justice Department said it plans to release records on a rolling basis. It blamed the delay on the time-consuming process of obscuring survivors’ names and other identifying information. The department has not given any notice when more records might arrive.

That approach angered some Epstein accusers and members of Congress who fought to pass the law forced the department to act. Instead of marking the end of a years-long battle for transparency, the document release Friday was merely the beginning of an indefinite wait for a complete picture of Epstein’s crimes and alleged crimes and the steps taken to investigate them.

“I feel like again, the DOJ, the justice system is failing us,” said Marina Lacerda, who alleges Epstein started sexually abusing her at his New York City mansion when she was 14.

Redactions, lack of context

Federal prosecutors in New York brought sex trafficking charges against Epstein in 2019, but he killed himself in jail after his arrest.

The documents just made public were a sliver of potentially millions of pages of records in the department’s possession. In one example, Deputy Atty. Gen. Todd Blanche said Manhattan federal prosecutors had more than 3.6 million records from sex trafficking investigations into Epstein and Maxwell, though many duplicated material already turned over by the FBI.

Many of the records released so far had been made public in court filings, congressional releases or freedom of information requests, though, for the first time, they were all in one place and available for the public to search for free.

Ones that were new were often lacking necessary context or heavily blacked out. A 119-page document marked “Grand Jury-NY,” probably from one of the federal sex trafficking investigations that led to the charges against Epstein in 2019 or Maxwell in 2021, was entirely blacked out.

Trump’s Republican allies seized on the Clinton images, including photos of the Democrat with singers Michael Jackson and Diana Ross. There were also photos of Epstein with actors Chris Tucker and Kevin Spacey, and even Epstein with TV newscaster Walter Cronkite. But none of the photos had captions and was no explanation given for why any of them were together.

The meatiest records released so far showed that federal prosecutors had what appeared to be a strong case against Epstein in 2007 yet never charged him.

Transcripts of grand jury proceedings, released publicly for the first time, included testimony from FBI agents who described interviews they had with several girls and young women who described being paid to perform sex acts for Epstein. The youngest was 14 and in ninth grade.

One had told investigators about being sexually assaulted by Epstein when she initially resisted his advances during a massage.

Another, then 21, testified before the grand jury about how Epstein had hired her when she was 16 to perform a sexual massage and how she had gone on to recruit other girls to do the same.

“For every girl that I brought to the table he would give me $200,” she said. They were mostly people she knew from high school, she said. “I also told them that if they are under age, just lie about it and tell him that you are 18.”

The documents also contain a transcript of an interview Justice Department lawyers did more than a decade later with the U.S. attorney who oversaw the case, Alexander Acosta, about his ultimate decision not to bring federal charges.

Acosta, who was Labor secretary during Trump’s first term, cited concerns about whether a jury would believe Epstein’s accusers.

He also said the Justice Department might have been more reluctant to make a federal prosecution out of a case that straddled the legal border between sex trafficking and soliciting prostitution, something more commonly handled by state prosecutors.

“I’m not saying it was the right view,” Acosta added. He also said that the public today would probably view the survivors differently.

“There’s been a lot of changes in victim shaming,” Acosta said.

Jennifer Freeman, an attorney representing Epstein accuser Maria Farmer and other survivors, said Saturday that her client feels vindicated after the document release. Farmer sought for years documents backing up her claim that Epstein and Maxwell were in possession of child sexual abuse images.

“It’s a triumph and a tragedy,” she said. “It looks like the government did absolutely nothing. Horrible things have happened and if they investigated in even the smallest way, they could have stopped him.”

Sisak and Caruso write for the Associated Press. AP journalists Ali Swenson, Christopher L. Keller, Kristin M. Hall, Aaron Kessler and Mike Catalini contributed to this report.

Bill Clinton, Bill Gates, Noam Chomsky and Woody Allen were among the familiar faces in the latest batch of photographs released by Democrats on the House Oversight Committee in connection to the late Jeffrey Epstein. With the Justice Department preparing to make additional files public, the images underscore an uncomfortable truth for us all: The convicted sex offender moved comfortably among some of the most intelligent men in the world. Rhodes scholars, technology leaders and artists.

Also in the release was a photograph of a woman’s lower leg and foot on what appears to be a bed, with a paperback copy of Vladimir Nabokov’s “Lolita” visible in the background. The 1955 novel centers on a middle-aged man’s sexual obsession with a 12-year-old girl. Epstein, a serial sexual abuser, famously nicknamed one of his private planes “The Lolita Express.” And we are to believe that some of the globe’s brightest minds could not put the dots together?

Donald Trump, who once described himself as “a very stable genius,” included.

“I’ve known Jeff for 15 years. Terrific guy,” Trump told New York magazine in 2002. “He’s a lot of fun to be with. It is even said that he likes beautiful women as much as I do, and many of them are on the younger side.”

Later, the two had a public falling out, and Trump has repeatedly denied any wrongdoing. Great. But denial after the fact is only one side of this story. The other is harder to digest: Either the self-proclaimed “very stable genius” spent nearly two decades around Epstein without recognizing what was happening in plain sight — or he recognized it and chose silence. Neither explanation reflects on intelligence as much as it does on character. No wonder Trump’s defenders keep raising the most overused word in American politics today: hoax.

“Once again, House Democrats are selectively releasing cherry-picked photos with random redactions to try and create a false narrative,” said White House spokesperson Abigail Jackson. “Here’s the reality: Democrats like Stacey Plaskett and Hakeem Jeffries were soliciting money and meetings from Epstein after he was a convicted sex offender. The Democrat hoax against President Trump has been repeatedly debunked, and the Trump administration has done more for Epstein’s victims than Democrats ever have by repeatedly calling for transparency, releasing thousands of pages of documents and calling for further investigations into Epstein’s Democrat friends.”

Jackson has a point.

Democrats were cherry-picking which photos to release, even if many of the men pictured were aligned with progressives. That includes the president, who was a Democrat when he and Epstein were running together in New York in the 2000s. Trump didn’t register as a Republican until 2009. Now whether the choice of photos and timing was designed to shield political friends or weaponize against perceived enemies isn’t clear. What is clear is that it doesn’t take a genius to see that none of this is a hoax.

The victims are real. The flight logs are real. The millions that flowed into Epstein’s bank account have wire transfer confirmation numbers that can be traced. What Democrats are doing with the information is politics as usual. And you don’t want politics to dictate who gets justice and who gets vilified.

Whatever the politicians’ intentions, Americans can decide how to react to the disclosures. And what the men around Epstein did with the information they gathered on his jet or his island fits squarely at the heart of the national conversation about masculinity. What kind of men could allow such abuse to continue?

I’m not saying the intelligent men in Epstein’s ecosystem did something criminal, but the lack of whistleblowing before his arrest raises questions about their fortitude for right and wrong. And the Trump White House trying to characterize this conversation as a partisan witch hunt — a hoax — is an ineffective strategy because the pattern with their use of that word is so clear.

We saw what happened on Jan. 6, and Trump tells us the investigation is a hoax. We hear the recording of him pressuring Georgia officials to find votes, and he tells us the investigation is a hoax. Trump campaigned on affordability issues — the cost of bacon, no taxes on tips — but now that he’s in office such talk is a hoax by Democrats. As if we don’t know the price of groceries in real time. Ten years ago, Trump told us he had proof that President Obama wasn’t born in the U.S. We’re still waiting.

In his book, “Art of the Deal,” Trump framed his lies as “truthful hyperbole” but by now we should understand for him hyperbole matters more than truth — and his felony convictions confirm that some of his claims were indeed simply false.

So if there is a hoax, it is the notion that none of the brilliant men whom Epstein kept in his orbit had any idea what was going on.

YouTube: @LZGrandersonShow