Hostile Terrain 94 the Undocumented Migration Project (UMP) Wignall Museum of Contemporary Art Chaffey College, Rancho Cucamonga, CA January 12 – March 14, 2026 Hostile Terrain 94 is a participatory exhibition created by the Undocumented Migration Project (UMP), a non-profit organization that focuses on the violent social process of immigration and raises awareness through research, education, and outreach. In 1994, the United States Border Patrol launched the immigration enf

By casting archival images into surreal, fluorescent oils, Aguilar’s paintings recontextualize historical moments and expose their uncanny luridity. While the content of Aguilar's previous work has addressed institutional violence and issues pertaining to social justice, Into the Reflection zooms in. By focusing on a more granular, intimate register, Aguilar’s new paintings examine the solitude and aspiration of subjectivity.

Cardboard: Infinite Possibilities is a group exhibition featuring an international roster of twelve artists who redefine what is possible with this ubiquitous and unpretentious material. This exhibition celebrates cardboard as a powerful medium for innovation, transformation, and metaphor.

Expanding an interdisciplinary practice that merges assemblage, printmaking, performance, and installation, the exhibition channels prophetic energy and conceptual precision to explore critical action, divinity, and survival in the modern era.

Painter and sculptor Dabin Ahn transforms personal objects, Korean ceramic vessels, and other ephemeral still-life elements into sites of passage. Drawing from 20th century art history, Joseon dynasty porcelain traditions, and his own imagination, he creates sensitive, meticulously painted scenes that explore remembrance and impermanence.

In Scottish, Northern English, and Manx folklore, the first foot refers to the first person to enter a home on New Year's Day, with that person thought to be a bringer of good fortune for the coming year.

The fastest song may be the song of our contemporary moment, where the speed of change defies any attempt to index, theorize, or even sing along to. What remains available is the act of leaning in, engaging with, and listening closely to our collective song—a song that demands presence and truth to adequately sing along to. Too Fast To Sing is curated by Hugo Cervantes, LAMAG Curator and with research support provided by Cyrus Blot, Getty Marrow Curatorial Intern.

Sustainers of Life, co-curated by Cecelia Caro and Laurie Steelink, features seven artists exploring intersectional themes through installation, sculpture, photography, illustration, and painting. The exhibition addresses colonialism’s impact, motherhood, and the Missing and Murdered Indigenous Women crisis while also celebrating individual stories of resilience and survival.

New work by Emma cc Cook that considers the long transformation of the Los Angeles basin—from irrigated agricultural experiment to expansive urban grid, and into its current hybrid state, where planned environment and inherited terrain remain in uneasy alignment. Central to the work is the history of large-scale water management and civic engineering, particularly the period shaped by William Mulholland’s aqueduct systems, which redirected not only resources but also patterns

Taylor explores both the vacuum of loss and the emergence into a new world and new self – radically unlike the past. Multiple bronze works – representations of the body – suggest an emptiness, a blackout. Cast from hand-sculpted clay and wax, they function as preservations of something made then lost.