Instead of the usual phalanx of cars and buses, Saturday evening traffic on Wilshire Boulevard was replaced by massive balloons, mobile sculptures, gaggles of gallerists and an endless array of elaborate costumes.
The first-ever Los Angeles Art Parade, a collaboration between the Los Angeles County Museum of Art (LACMA) and famed gallerist Jeffrey Deitch, transformed the stretch of Wilshire known as “Museum Row” into a human-powered exhibition of the city’s dynamic art scene.
About 146 groups, made up of more than 1,400 participants, marched in the parade, with projects ranging from larger-than-life marionette dolls to squads of children in do-it-yourself costumes to mobile recreations of LACMA’s most iconic art pieces.
The parade followed an all-day Block Party thrown by LACMA as part of its Grand Opening Weekend, celebrating the new David Geffen Galleries and the completion of the 20-year-long, $724-million campus construction project. Together, the Block Party and Art Parade attracted an estimated 60,000 attendees, who swarmed the galleries, danced to explosive DJ sets, and lined the streets to watch the eclectic procession of artists.
According to LACMA Director and Chief Executive Michael Govan, the event was a long time coming and “just the beginning” of how his team plans to use the campus space, which he previously called the city’s “living room.”
“We’re not gonna close Wilshire every weekend, but it’s an example of what we can do,” Govan said. “It’s really exciting to see the building work.”
Following a crowd-drawing DJ set from electronic low-fi hip-hop artist Flying Lotus, Govan introduced L.A. County District 2 Supervisor Holly J. Mitchell. She said the event made her “proud to represent LACMA” and to be a Metro board member, referencing the recently-opened Metro D-line extension, which dropped attendees off a quick stroll from LACMA’s entrance.
“Just seeing you all at this amazing public facility does my heart good,” she said. “This is your local government at work.”
As the party raged on LACMA’s campus, hundreds of parade participants hurriedly prepared for their debuts in the corners of nearby streets and parking lots. One group inflated a giant disco ball, while another smeared themselves with body paint next to a line of rehearsing dancers. Elsewhere, a megaphone-wielding leader herded dozens of black cats in the style of artist Gary Baseman into some semblance of order.
Jeffrey Dietch originally staged the first Art Parades in New York City’s SoHo neighborhood between 2005 and 2008. While those took a more art-world-exclusive approach, Dietch said the Los Angeles version was designed with inclusion in mind. The call for parade proposals was open to “emerging and established artists and creatives of all ages and backgrounds,” according to guidelines, as long as the work was appropriate for all ages and didn’t require a motorized element.
“The New York one was much more oriented toward people in the art community. We didn’t put out this kind of open call,” Dietch explained. “This is very different in its openness and its diversity. There are some famous artists and famous choreographers, L.A. legends. But there are also mothers from the San Fernando Valley with their children. I really love that.”
“It’s just a very open platform, so you don’t have to have an M.F.A. to express yourself as an artist,” he added.
The procession was dizzying in its variety and scale. While many projects leaned into beauty and whimsy, others took a more overtly political approach, displaying anti-ICE messages on T-shirts and signs, sporting trans pride flags, or, in the case of performance artist Amy Kaps, wearing an unraveling U.S. constitution.
Some even referenced local causes, such as the “Boo Boo Bandage Brigade for Safe Streets,” which advocated for fixing sidewalks and increasing accessibility Downtown. One particularly moving display by the Pali-Altadena Collective featured participants carrying miniature models of buildings and landmarks lost in the 2025 fires.
Chicana artist Nao Bustamante and Track 16 Gallery brought “Brown Disco” to the streets, which featured a giant gold disco ball and figures from decades of L.A. queer nightlife.
“As a brown, queer person, I think that this really brought a light into our community, and now its presence [creates] an intergenerational conversation,” said Track 15 Assistant Director Steve Galindo. “The nightlife scene is how we come out as queer people, so it’s really special to be in the parade.”
For Joie Mitchell, volunteer coordinator for the Bob Baker Marionette Theater, which recently purchased its permanent Highland Park home, the parade was an opportunity to “show up for L.A. and be involved in the art history of this city.”
“Puppetry has been part of the arts for so many years,” added Daisy Hernandez, the theater’s production manager. “It’s a way that people express themselves, just like every other art form. So that’s what we’re here to do: express ourselves through puppetry.”
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