First Look: 6 Rooms and Cabanas You Won’t Want to Miss at Felix Art Fair
At the Hollywood Roosevelt Hotel from February 25–March 1, 2026, Felix Art Fair’s eighth edition spotlights over 20 first-time exhibitors alongside returning galleries, reinforcing its reputation as LA Art Week’s most intimate and discovery-driven destination.
From February 25–March 1, 2026, Felix Art Fair returns to the Hollywood Roosevelt Hotel for its eighth edition, reaffirming its position as one of Los Angeles Art Week’s most anticipated and refreshingly unconventional gatherings. Modeled after the hotel art fair format popularized in the 1990s, Felix continues to reject the trade-show atmosphere in favor of something more personal: collectors and curators navigating corridors, stepping into sunlit rooms, and encountering ambitious work in close quarters.
This year’s edition places particular emphasis on “discovery,” welcoming over 20 first-time exhibitors while maintaining a strong roster of returning participants. With galleries traveling from Tokyo, Chicago, Buenos Aires, Milan, Seoul, London, Dallas, New York, and across Los Angeles, Felix once again merges international dialogue with the distinctly relaxed, poolside sensibility that defines the Roosevelt setting.
Nina Johnson: Desire, Protection, and Self-Fashioning
In Cabana 123, Nina Johnson presents a powerful two-person dialogue between Madeline Donahue and Haus of Garbage. Donahue’s new paintings and works on paper expand her ongoing engagement with motherhood, bodily autonomy, and sexual freedom—this time with a candidly explicit turn. Working in oil on canvas and colored pencil on paper, she introduces a recurring body double that operates as a proxy for desire itself. Hyper-present and costumed, this figure exists alongside the maternal body, complicating the binaries of care and erotic agency.
Across the cabana, Haus of Garbage presents sculptural objects and wearable head and body pieces constructed from safety pins and chain maille. Drawing from sacred geometry, medieval armor, and punk aesthetics, the works function as adornment and defense simultaneously. The pairing sharpens the presentation’s thesis: sexuality and self-fashioning not as spectacle, but as authorship.
