Last Chance: Regen Projects to Close the Acclaimed ‘planchette’ Exhibition This Weekend
The contemporary art landscape of Los Angeles is preparing to bid farewell to one of May’s most critically acclaimed group exhibitions. planchette, a powerhouse showcase featuring the works of Rachel Harrison, Liz Larner, and Rebecca Morris, enters its final days at Regen Projects. Closing on Saturday, May 23, 2026, this exhibition has drawn widespread attention from global culture authorities, cementing its place as an essential visual dialogue of the season.
Garnering rave reviews and featured in Wallpaper Magazine’s "Best Shows to See in May 2026," alongside extensive coverage in Art Now LA and Reserved Magazine, the exhibition investigates the complex territories of texture, form, and abstraction.
Photo: Courtesy of Regen Projects, Los Angeles 2026
A Triad of Materiality and Abstraction
The title planchette subtly evokes ideas of guidance, mysticism, and the tools used to trace unseen forces. Across the gallery floor, Harrison, Larner, and Morris operate like a collective medium, translating raw physical materials into poetic, sometimes jarring, visual statements.
The exhibition’s strength lies in its meticulous curation, where heavy, industrial mediums are balanced against delicate, fluid forms:
Rachel Harrison’s Sculptural Prowess: A centerpiece of the exhibition is Harrison's Paint Can (2021). Standing at an imposing $92 \times 43 \times 45\text{ inches}$, this monumental sculpture is a masterclass in mixed-media construction. Combining organic and synthetic materials wood, polystyrene, cardboard, chicken wire, burlap, cement, and acrylic it features a literal metal paint can, challenging the boundaries between the canvas and physical space.
Liz Larner’s Porcelain Dichotomy: Larner contributes a fascinating, dual-narrative study with her porcelain works. On the left sits smile (fangs) (1996–2010), an intricate assemblage of cast porcelain, epoxy, rubber, steel, and lead shot. To its right, the tension is mirrored by smile (abiding) (1996–2005). Together, these pieces contrast structural rigidity with fragile, visceral emotions.
Rebecca Morris’s Grand Canvas: Anchoring the walls is Morris’s large-scale painting, Untitled (#21-25) (2025). Spanning $102\ 1/8 \times 72\ 1/8\text{ inches}$, the oil and spray paint on canvas composition showcases her signature engagement with color blocking, spatial geometry, and complex patterns that feel both ancient and futuristic.
Nature Amid Metropolitan Modernism
The layout of planchette forces an interaction between the viewer and the physical presence of the art. The installation views demonstrate how the works anchor the expansive gallery space at 6750 Santa Monica Boulevard, creating an environment where nature, industrial decay, and metropolitan modernism collide.
For art collectors, critics, and enthusiasts tracking the evolution of West Coast contemporary art, the final days of planchette represent a critical window. It is a rare opportunity to see three defining female voices of modern abstraction operating in perfect, dissonant harmony.
Photo: Courtesy of Regen Projects, Los Angeles 2026