Photographer Reynaldo Rivera’s documentation of the Los Angeles party scene in the 1990s serves as artifact and aspiration—conditions writer Grace Hadland desires in her essay, “People At Parties.” Through Rivera's lens emerged atmospheric images of queer and Latinx subcultures that unfolded behind the stages of drag bars like Silverlake Lounge and Mugy’s, inspiring a yearning for the past amidst today’s lackluster digital landscape.

"Singin’ in the Rain," one of the first films I ever saw, loomed over my thoughts during Frieze Los Angeles. In its second west coast iteration, the art fair took place at the historic Paramount Pictures Studios in Hollywood. Top tier galleries set up white box booths in a tent laden with plush carpet at the entrance — the color of the year was a deep pink. Smaller L.A. galleries and artist project spaces occupied the row in the back of the tent. It was what I imagine a convention to be like — fanatics selling wares and displaying their newest oddities in a big civic arena flooded with fluorescent light, albino lizards, and unique species of scorpions. This was an Art Expo, the World Fair.