What’s New
At MoAD: “Demetri Broxton: Ancestral Echoes – Crops of Empire” is open through August 16, 2026. It is the first museum show for the Oakland-based mixed-media artist.
At 500 Capp Street: The Constance Lewallen Legacy Series of talks begins with Bay Area curators Renny Pritikin and Mark Johnson on June 27 from 6 p.m. to 8 p.m. The curators will present their latest research in “Toward A History of Bay Area Contemporary Art 1969-2004.” Register here.
Closing soon
Coming soon
The gallery scene
Ashley Voss updates a local gallery guide weekly. Check out the guide’s Instagram account and website.
City Art Biz and Meetings in July
Here’s your schedule
The Arts Commission meets online and in person on the first Monday of each month, which means , July 6, at 2 p.m.
Room 125, War Memorial Veterans Building, 401 Van Ness Avenue
Advisory Committee of Street Artists and Crafts Examiners, July 1, 10:30 a.m.
City Hall, Room 416 and streamed online via SFGovTV. T
Visual Arts Committee , July 15, 2 p.m.
City Hall, Room 416 and streamed online via SFGovTV. T
Civic Design Review Committee, July 20, at 2 p.m.
City Hall, Room 416 and streamed online. via SFGovTV.
Executive Committee July 22, at 1 p.m.
City Hall, Room 416 and streamed online via SFGovTV.
At the Museums
It’s a difficult time for many of the city’s museums and cultural centers. The Mission Cultural Center for Latino Arts has suspended operations. City Hall promises action, but in the meantime, it’s a significant loss of children’s programming, exhibits, and events. You can donate here. SOMArts is also trying to fill a budget gap. You can donate here.
Museum of the African Diaspora
Tuesday, Wednesday, Friday, Saturday, and Sunday, 11 a.m. to 5 p.m. Thursday, noon to 8 p.m.
“Demetri Broxton: Ancestral Echoes – Crops of Empire” is open through August 16, 2026. It is the first museum show for the Oakland-based mixed-media artist.
Here are some photos of his work.
Demetri Broxton Still Waters Run Deep, 2025 Japanese glass beads, sequins, cowrie shells, 24K gold plated brass, brass, rayon chainette, wool, serigraph printed on Japanese sateen cotton, mounted on birch board 35″ x 16″ Courtesy of the artist & Patricia Sweetow Gallery
Demetri Broxton A Family Tie Is Like a Tree; It Can Bend but It Cannot Break, 2026 Japanese & Czech glass beads, sequins, cowrie shells, Swarovski crystal, 24K gold plated brass, antique silk chainette, wool, serigraph printed on Japanese sateen cotton, mounted on birch board 28.5″ x 18.5″ Collection of Rebecca Draper. Courtesy of the artist & Haines Gallery
Demetri Broxton He Who Holds Me to the Soil, Holds Himself as Well, 2026 Japanese glass beads, sequins, cowrie shells, recycled glass, 24K gold plated brass,brass, rayon chainette, wool, Nymo (nylon) thread, serigraph printed on Japanese sateen cotton, goat hair canvas, mounted on birch board. 59″ x 29″ Collection of Brigit Lawley. Courtesy of the artist & PATRICIA SWEETOW GALLERY
Also showing: “Unbound: Art, Blackness and the Universe,” runs through Aug. 16, 2026.
Teresa Moore reviews “Unbound” this writing, “Over three floors, she (curatorial chief Key Jo Lee) presents an African diaspora that is “unbound” from earthly and chronological conceptions of diaspora.”
Didier William Dark Shores,2024. Courtesy of the artist and Altman Siegel
Rodney Ewing. Light Years: A Cenotaph for a Better Place,2025. Courtesy of Rena Bransten Gallery, SF and the artist.
Oasa DuVerney BLACK POWER WAVE as Bodhisattva Manjushri Sankofa, 2023, Courtesy of the artist and Welancora Gallery
“Two Home Countries” by Japanese contemporary artist, Chiharu Shiota, is open and Julie Zigoris reviewed it for Mission Local. She writes that one of the pieces, “Diary,” which took ten people and two weeks to install, “has a transportive feeling of being sucked into another space and time.”
Here is some of the work you will be seeing from Shiota.
Chiharu Shiota, Inner Home, 2024. Metal frame, wire, beads. Photograph by Sunhi Mang. © ARS, New York, 2025 and the artist
Sketch for KINKAKUJI by Chiharu Shiota. © ARS, New York, 2025 and the artist
Installation view of Chiharu Shiota_ Two Home Countries at Japan Society Gallery, New York, 2025. Photo by Waso Danilenko 
Chiharu Shiota, Out of my Body, 2022. Installation – leather, bronze. Aros Museum, Aarhus, Denmark. Photo Anders Sune Berg. © ARS, New York, 2025 and the artist
Here is a video of Shiota talking about her webs.
“This Asian American Life” shows scenes from Chinatown from the POV of a child. It is part of a public-art series on Chinatown’s mothers, workers and tenants. The museum recently posted a video of a conversation with the artist, Kayan Cheung-Miaw.
This Asian American Life, 2025, by Kayan Cheung-Miaw. Commissioned by the Asian Art Museum. Photo by David Armstrong.
“Echoes in the Small Mountain: Park Dae-sung and the West Coast” is open until July 26.
Dae-sung (b. 1945) is “credited with reinventing the techniques of traditional Korean ink painting,” according to the museum’s website. The paintings are based on California landscapes and are spectacular.
“Jitish Kallat: Covering Letter (Terranum Nuncius)” invites visitors to reflect on the things that unite humanity.
Image: Jitish Kallat, Covering Letter (Terranum Nuncius) (2018–2021), detail and installation view. 116 stereoscopic parallax prints on Plexiglas, programmed LED panels, frames, wooden shelves and bench, 4 horn speakers, video projection. Image courtesy of the artist and Ishara Art Foundation. Photography by Ismail Noor / Seeing Things.
You will also see cutting-edge claywork from Japan in “New Japanese Clay.”
The museum has a series, “Takeout Tuesdays,” where you can meet online to talk about a piece of art with docents and others.
General admission is free on the first Sunday of every month and the special exhibitions are discounted. Here is more information for free and reduced-cost admission. The museum also hosts a robust list of events.
Monday, Tuesday, Friday, Saturday and Sunday, 10 a.m. to 5 p.m; Wednesday, closed; Thursday, noon to 8 p.m.
Great new show – “Matisse’s Femme au chapeau: A Modern Scandal” based on a 1991 gift from Elise Haas. Julie Zigoris reviewed it for us writing, “The painting’s debut in 1905 caused an immediate sensation for its fury of colors…”
Henri Matisse, Femme au chapeau (Woman with a Hat),1905; SFMOMA, Photo by Glen Cheriton for SFMOMA. 
Hilary Harkness,Answered Prayers, 2024; collection of KAWS; © Hilary Harkness; Photo courtesy of Hilary Harkness and P·P·O·W, New York
Fishing Boats, Collioure; André Derain; 1905;The Philip L. Goodwin Collection;© 2023 Artists Rights Society (ARS), New York / ADAGP, Paris.
After looking at 140 nominations and having studio visits with 16 finalists, the three SECA award winners have been announced: CrossLypka, Em Kettner, and Chanell Stone. Congratulations! The three artists will have a show from December 12, 2026 to May 30, 2027.
Here is a taste of their work.
Chanell Stone, The body is but a record and rendition of the land, 2023.
CrossLypka, a kneeling, 2026. 
Em Kettner, The Wheelchair, 2024.
Reimagined: The Fisher Collection at 10, a rehanging and consideration of the collection is open.
It’s a spectacular collection and KQED has a good piece on the reinstallation. The NYT, has also published a piece on the Fisher’s relationship with the museum and the rehanging of the family’s collection, writing it is “unlike anything SFMOMA has done in its 90 years.”
Alexander Calder and Claes Oldenburg + Coosje van Bruggen: Thinking Big opened first.
Claes Oldenburg and Coosje van Bruggen, Cupid’s Span, 2002; The Doris and Donald Fisher Collection; © Claes Oldenburg and Coosje van Bruggen. Photo by Henrik Kam
Claes Oldenburg and Coosje van Bruggen, Sculpture in the Form of a Match Cover, 1987; The Doris and Donald Fisher Collection at the San Francisco Museum of Modern Art; © Claes Oldenburg and Coosje van Bruggen. Photo by Katherine Du Tiel
Claes Oldenburg and Coosje van Bruggen, Geometric Apple Core, 1991; The Doris and Donald Fisher Collection at the San Francisco Museum of Modern Art; © Claes Oldenburg and Coosje van Bruggen. Photo by Ian Reeves
The other three floors.
Ways of Seeing: Fourteen Artists (on Floor 4)
Calder, Kelly, LeWitt: Fundamentals of Form (on Floor 5)
Memory and Matter: Personal and Collective Histories (on Floor 6)
Sol LeWitt, Wall Drawing 477, 1986; The Doris and Donald Fisher Collection at the SanFrancisco Museum of Modern Art; © The LeWitt Estate / Artists Rights Society (ARS),New York. Photo courtesy SFMOMA
Anselm Kiefer,Unternehmen Seelöwe (Operation Sea Lion), 1983-84; The Doris andDonald Fisher Collection at the San Francisco Museum of Modern Art; © AnselmKiefer; Photo by Ian Reeves
Philip Guston,As It Goes, 1978; The Doris and Donald Fisher Collection at the SanFrancisco Museum of Modern Art; © The Estate of Philip Guston. Photo courtesySFMOMA
Roy Lichtenstein,Nerts, 1978; The Doris and Donald Fisher Collection at the SanFrancisco Museum of Modern Art; © Estate of Roy Lichtenstein. Photo courtesy SFMOMA
“Rose B Simpson: Behold,” is on view on SFMOMA’s fourth-floor terrace a bronze sculpture visible from multiple locations. And good news! It has been extended through February 7, 2027.
Also new: “Samia Halaby: Kinetic paintings,” four new works in SFMOMA’s Evelyn and Walter Haas Jr. Atrium.
Samia Halaby, Fold 2, 1988 (still); San Francisco Museum of Modern Art, Accessions Committee purchase, by exchange, through a gift of Michael D. Abrams; courtesy the artist and Sfeir-Semler Gallery Beirut/Hamburg; © Samia Halaby
Carlos Villa; image: courtesy SFAI Legacy Foundation and Archives
“People Make This Place: SFAI Stories” is open through July 5, 2026, at SFMOMA. The exhibit looks at the the San Francisco Art Institute’s importance to the local arts eco-system and includes work from 50 alumni and former faculty in the museum’s collection.
“New Work: Sheila Hicks” on the fourth floor illustrates how Hicks turns fiber into sculpture.
Friday and Saturday, noon to 5 p.m.: Free self-guided tours. Saturday at 4 p.m.: A guided tour for $20.
“Collaborating with the Muses: Part 2” through August 23. We wrote about Mildred Howard’s Part 1 show last year.
2. A still from Transposing Landscapes- A Requiem for Charles Young, 2025
Memory Index_ Imagined Family Heirlooms
Trina Michelle Robinson Studio Portrait
Museum of Craft and Design (MCD)
Thursday to Sunday, noon to 5 p.m.
“Video Craft” is open until August 16. From the website: “‘Video Craft’ explores the formal and technical properties that video, film, and early moving image technologies share with more traditional craft media like ceramics, textiles, and glass.”
The images look stunning.
Greg Climer, The Animated Quilt of Nathan and Bryan,
2022. Courtesy of the artist.
Senga Nengudi, Warp Trance, 2007. Installation view,
Another Energy: Power to Continue Challenging—16
Women Artists from around the World, Mori Art Museum,
Tokyo, 2021
Photo by Furukawa Yuya. Photo courtesy of Mori Art
Museum, Tokyo.
Ahree Lee, Bojagi, 2015, Digital video with sound, 15m.
Courtesy of the artist.
Richard Vijgen, Hyperthread, 2024, various yarns. Photo
courtesy of Studio Richard Vijgen.
Thursday,1 to 8 p.m. and free to all; Friday to Sunday: 11 a.m. to 6 p.m.; closed Monday to Wednesday.
You can make a zine on July 18.
You can get a tour of the archive on July 10.
Or take a crash court in type selection on July 11.
Mmm, too bad we can’t just do a sleep over on the weekend of the 10th.
“Black Memory Scholar: The Language of Storytellers” is open through July 11. “The exhibition traces the position and discoveries of staff member Jada Simone Haynes as an artist and memory worker engaged with ancestry, identity, and memory,” according to the website.
“Piet Zwart: Brand Architect” opened Nov. 8.
There are many great examples of his work in this piece by Steven Heller, a former senior art director at The New York Times.
And here is more from the Letterform Archive when it reprinted “Inside NKF: Piet Zwart’s Avant-Garde Catalog for Standard Cables, 1927–1928.” It also publishes his seminal essay, “from old to new typography.”
The new, he writes, “rejects a predetermined formal structure, but builds up forms according to the function … the new typography incorporates active red as a functional element: as a signal, an eye-catcher.” Sounds like an interesting fellow.
See all events and programming here.
“Localization: 15 Years of LetterSeed” opened in mid-August. It explores Korean typography.
A pop-up exhibition co-curated by Chris Hamamoto, Su Hyun Leem, and Jeewoon Jung
The Letterform Archive is a nonprofit arts center focused on graphic design.
The Institute is now nomadic with several exhibits that can be viewed at different public spaces:
Here are some views of the installations.
Rupy C Tut, The Picnic Potluck (installation view). Photo by Nicholas Lea Bruno. Courtesy of ICA San Francisco.
1-10) Stratagems (installation view), 2026. CDs, concrete, stainless steel. © Tara Donovan. Photo by Nicholas Lea Bruno, courtesy of ICA SF. 
1-10) Stratagems (installation view), 2026. CDs, concrete, stainless steel. © Tara Donovan. Photo by Nicholas Lea Bruno, courtesy of ICA SF. 
EARTHSEED DOME (installation view), January 2026. © Lily Kwong. Photo by Nicholas Lea Bruno, courtesy of ICA SF.
EARTHSEED DOME (Phase 2 installation view), April 2026. © Lily Kwong. Photo by Nicholas Lea Bruno, Courtesy of ICA SF
EARTHSEED DOME (Phase 2 installation view), April 2026. © Lily Kwong. Photo by Nicholas Lea Bruno, Courtesy of ICA SF
1. Jeffrey Gibson, rendering of THIS BURNING WORLD, 2026, vinyl facade of on the Mission Street side of the former Bloomingdale’s building at the San Francisco Centre. Courtesy of the artist.
Jeffrey Gibson
THIS BURNING WORLD, 2022
Multi-channel video, 20 min
Courtesy of the artist and ICA SF
Photo credit: Impart Photography
Jeffrey Gibson
THIS BURNING WORLD, 2022
Multi-channel video, 20 min
Courtesy of the artist and ICA SF
Photo credit: Impart Photography
Jeffrey Gibson
THIS BURNING WORLD, 2022
Multi-channel video, 20 min
Courtesy of the artist and ICA SF
Photo credit: Impart Photography
Tuesday to Sunday, 9:30 a.m. to 5:15 p.m.
Saturdays are free for residents of the Bay Area’s nine counties.
“About Place: Bay Area Artists from the Svane Gift,” will close on July 5
“Monet and Venice” is open through July 26th and we have a review by Julie Zigoris. She writes, that the French painter had all but decided to give up his water-lily project when his wife Alice, suggested a trip to Venice – thereby rescuing the water lily project and giving us some exquisite paintings from Venice.
It is meant to be in dialogue with “Venice Drawn” at the Legion of Honor and will be on view through July 26.
“Boom and Bust: Photographing Northern California,” featuring photographs of “San Francisco before and after the 1906 earthquake and fire, the construction of the Golden Gate Bridge and Bay Bridge, and the development of San Francisco’s South of Market neighborhood.” It is on through August 2.
Janet Delaney, “Mercantile Building, Mission and 3rd Street,” 1980.. Photograph by Jorge Bachmann, courtesy of the Fine Arts Museums of San Francisco
Arnold Genthe, “The Street of Painted Balconies, from the Chinatown Series,” ca. 1896 
Daniel Postaer, “San Francisco, Fillmore Street,” 2012
Willard E. Worden, “An Awe-Inspiring View of the Burning City from a Hastily Improvised Campsite West of Van Ness Avenue and Fort Mason, in the District Now Known as the Marina,” 1906
Willard E. Worden, “The Cliff House (Low Tide),” 1904
San Francisco General Hospital Buildings 80 and 90 circa 1937. Photo courtesy UCSF, San Francisco General Hospital archives.
Carleton E. Watkins, “The Golden Gate from Telegraph Hill, San Francisco,” 1868
Artist Rose B. Simpson’s show “LEXICON” will be on until Feb 7, 2027.
Noma Faingold writes in her review, “Coming from a long line of Native American ceramic artists of the Santa Clara Pueblo (Kha’po’oe Ówîngeh), based just south of Española, New Mexico, pottery is in Simpson’s DNA. While she still lives at the pueblo and has her studio close by, she has forged a different creative path, while examining the past, present and future.”
Rose Simpson rebuild of a Buick Riviera, leaving her shop on the Santa Claran Pueblo, loading with Dylan Madri. Photo courtesy of the artist.
Simpson’s exhibit is all part of the opening of four galleries dedicated to Arts of Indigenous America, which draws on the permanent collections, new acquisitions and artists like Simpson.
The New York Times has an excellent piece by Carolina A. Miranda on the development of the Arts of Indigenous America galleries.
Tuesday to Sunday, 9:30 a.m. to 5:15 p.m.
“Drawn to Venice” will be on until Aug. 2, 2026. The exhibition is designed to be “in dialogue with ‘Monet and Venice,’ on view until July 26, 2026, at the de Young.” See our review of the latter here.
Bust of a Girl Holding an Apple. Drawing. Giovanni Battista Piazzetta (Italian, 1682-1754). Museum purchase, Bruno and Sadie Adriani, Ludwig A. Emge, Ruth Haas Lilienthal, Roscoe and Margaret Oakes Income Fund, and Lucie Stern Fund.
Portrait of a Lady as Diana. Drawing. Rosalba Giovanna Carriera (Italian, 1671-1757). Gift of Mr. and Mrs. Prentis Cobb Hale Jr.
The exhibit includes 30 drawings and prints from 16th-century Venice, including landscapes and figure studies, from such artists as Giovanni Battista Tiepolo (1696–1770), Rosalba Carriera (1673–1757) and Canaletto (1697–1768).
“The Etruscans: From the Heart of Ancient Italy,” a collection of 150 items including sculpture and jewelry. Don’t know much about the Etruscans? Here is a video.
“Ferlinghetti for San Francisco” draws from the museum’s collection of prints, etchings and lithographs. Here is a 2012 profile from SFGate of the poet, artist, activist and founder of City Lights Book Store. The show is open until July 19, 2026.
Ferlinghetti died in 2021, but what a life. Even before arriving in San Francisco, he had earned a master’s degree from Columbia University and a doctorate from the Sorbonne.
If you get into Ferlinghetti‘s history, visit the Counter Culture Museum, City Lights Book Store and the Beat Museum.
Lawrence Ferlinghetti
Lawrence Ferlinghetti
You can view the Legion of Honor’s full list of exhibitions here.
The museum offers Free Saturdays to residents of the Bay Area’s nine counties.
Open Tuesday to Saturday from 10 a.m. to 5 p.m.
“Finding Our Way Home: Mary TallMountain is open. The exhibit celebrates the longtime Tenderloin resident and Native Alaskan poet Mary TallMountain (1918-1994). From the website: “Her extraordinary personal journey of recovery, writing, and cultural reclamation is told through key poems, rare photos, and video performances, with special emphasis on her community writing practice in the TL and how her legacy endures and inspires from SF to the Yukon.”
A friend just saw “The Compton’s Cafeteria Riot” and loved it. It is at the museum’s venue at 835 Larkin St and runs every Friday and Saturday at 7 p.m. You can get tickets here. Chris Carlsson writes about the 1966 riots and resistance on FoundSF, a great resource for history.
The San Francisco Chronicle reported on the Tenderloin Museum’s planned expansion from 3,000 to 10,000 square feet, adding a room dedicated to San Francisco’s neon history, including a sign from Hunt’s Donuts, once based in the Mission District and known as the “epicenter of crime.”
There is a lot more going on at the Tenderloin Museum, including the permanent collection that explores the neighborhood’s history and upcoming events, such as a walking tour focused on the area’s LGBTQIA+ history. Other walking tours are listed here.
See “Lineages of Organizing: The Asian Pacific Islander Cultural Center at 30.” an exhibit illustrating the history of the center. It is running in conjunction with the Asian Pacific Islander Cultural Center’s “Common Ground” programming.
EddieJen, Seeking A Penpal For The End Of The World, Photo by Joseph Niles
Sami See. FLOODFilmStill, 2026.
Sammay Hinga, Lineages Of Organizing, Kat Gorospe Cole
PercySchumacher, AliceWongLinocut, LineagesOfOrganizing
MayaFuji, OkaeriTadaima.
King LOTUSBOY, RhythmsOfResistance, Gina Castro
EUPHEMIA,Rhythms Of Resistance, @alt.kameya
California Academy of Sciences
Monday to Saturday, 9:30 a.m to 5 p.m; Sunday, 11 a.m. to 5 p.m; Thursday, NightLife (21+ with ID): 6 to 10 p.m. (Last entry is always one hour before closing time.)
There’s a lot going on here.
The newly renovated Wilson Family Nature Lab is open with lots of hands-on learning.
WelcomeWinterNight 2024. Courtesy of the California Academy of Science
Nature Lab Opening. Courtesy of the California Academy of Arts
WelcomeWinterNight 2024. Courtesy of the California Academy of Science
WelcomeWinterNight 2024. Courtesy of the California Academy of Science
“Big Picture” competition winners are on view.
Make sure to plan ahead and see the admission and ticketing page for more information. Also, see how you can get a free or reduced rate for your next visit.
Wednesday to Sunday, 11 a.m. to 6 p.m.
We have more museums in town. This one is at the corner of Haight and Ashbury streets with a whole lot of San Francisco history.
I could see a whole weekend, or a couple of weekdays, spent between the Counterculture Museum, the Beat Museum and the “Ferlingetti for San Francisco” show at the Legion of Honor. It would be like a graduate seminar on the late ’50s, ’60s and ’70s.
Thursday to Sunday, 11 a.m. to 7 p.m.
The Beat Museum is at 540 Broadway, across the street from City Lights, the bookstore founded by Lawrence Ferlinghetti.
“We are dedicated to carrying on the Beats’ legacy by exposing their work to new audiences, encouraging journeys — both interior and exterior — and being a resource on how one person’s perspective can have meaning to many,” according to a statement from the museum.
This sounds like a great place to visit.
Yerba Buena Center for the Arts
Wednesday to Sunday, 11 a.m. to 5 p.m.; free on Wednesdays and second Sundays.
Through August 23, “Diedrick Brackens: gather tender night” and “Conjuring Power: Roots & Futures of Queer & Trans Movements“
San Francisco State University’s Fine Arts Gallery
The gallery is open Tuesday to Friday, noon to 4 p.m. It will be closed for most of the summer, reopening on August 8 for “Life and the Inevitable.” The show on life, death and grief will feature six artists. It is curated by Keone Nakakura, a graduate student in museum studies, and will run through Oct. 15.
San Francisco State University’s Global Museum
It’s a teaching lab and open to the public during the school year – Oct. through May. 11 a.m. to. 4 p.m., Tuesday through Thursday, and by appointment. Location: Fine Arts Building, Room 203
Now on: “Craft or Commodity?” And “Please Touch!” “Both exhibits focus on themes of responsible stewardship of cultural heritage, decolonizing museum work, and expanding accessible museum experiences,” writes Marley Townsend, a graduate student in Museum Studies.
Thursday through Sunday, 10 a.m. to 5:30 p.m.
“Happiest Place on Earth: The Disneyland Story” is open. The museum described it as a “treasure trove of Disney history” taking “will take “guests behind the scenes of one of the most groundbreaking endeavors of the 20th century — the creation and opening of Disneyland in Anaheim, California.”
The museum is showing rare objects featured in the book “Walt Disney Treasures: Personal Art and Artifacts from The Walt Disney Family Museum.” The objects will change every two months.
Visit the museum’s website for more information on admission costs and reduced ticketing options. The special exhibits are free with a suggested $5 admission fee.
Closed Mondays. Sunday, 10 a.m. to noon (members/donors only); noon to 5 p.m. for everyone. Tuesday to Saturday, 10 a.m. to 5 p.m. Thursday, 6 to 10 p.m. for 18+.
Experience After Dark at Pier 15. Every Thursday evening, immerse yourself in more than 700 interactive exhibits. For people 18 and older. The museum advertises a carefree environment with new themes each night. Here is information for reduced admission.
The Chinese Historical Society of America
“We Are Bruce Lee: Under the Sky, One Family“
The Mission Cultural Center for Latino Arts
Closed until further notice.
See the center’s website for offerings.
The museum closed in December for at least a year as it works out its financial situation. You can learn more here. Laura Waxmann wrote a good piece for the San Francisco Chronicle about the difficulties museums are facing.
Its closure is a reminder to visit our museums.