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The Geffen Contemporary at MOCA will be closed tomorrow Saturday, May 31, 2025 for the annual MOCA Gala. We will reopen Sunday, June 1, 2025 at 11 a.m.

Education

For Families

For Families

MOCA Education makes education more collaborative, inclusive, and learner-centered, and nurtures intellectual growth through transformative experiences with contemporary art.

The downloadable activities on this page come from inclusive, hands-on art-making workshops designed especially for families. Scroll through the PDFs as a family to chat about a featured artwork, then try your hand at a unique art activity inspired by the artwork.

Katie Grinnan

Katie Grinnan, Hubcap Woman, 2003. Friendly Plastic, concrete, and sewer cover. 63 3/8 x 115 x 46 in. (160.97 x 292.1 x 116.84 cm) Other (Sewer Cover): 5/8 x 23 5/8 x 15 3/4 in. (1.59 x 60.01 x 40.01 cm). The Museum of Contemporary Art, Los Angeles Purchase with funds provided by the Curatorial Discretionary Fund

Katie Grinnan, Hubcap Woman, 2003. Friendly Plastic, concrete, and sewer cover. 63 3/8 x 115 x 46 in. (160.97 x 292.1 x 116.84 cm) Other (Sewer Cover): 5/8 x 23 5/8 x 15 3/4 in. (1.59 x 60.01 x 40.01 cm). The Museum of Contemporary Art, Los Angeles Purchase with funds provided by the Curatorial Discretionary Fund

This program engages Katie Grinnan's 2003 sculpture Hubcap Woman, a work constructed of friendly plastic, concrete, and other materials.

John Baldessari

John Baldessari, Concerning Diachronic/Synchronic Time: Above, On, Under (with Mermaid), 1992, Six black-and-white photographs.

John Baldessari, Concerning Diachronic/Synchronic Time: Above, On, Under (with Mermaid), 1992, Six black-and-white photographs.

This program engages John Baldessari’s playful 1976 work, Concerning Diachronic/Synchronic Time: Above, On, Under (with Mermaid), a montage of six appropriated movie stills.

Gillian Wearing

Gillian Wearing, Work Towards World Peace - Signs that say what you want them to say and not signs that say what someone else wants you to say, 1992-1993 R-type color print.

Gillian Wearing, Work Towards World Peace - Signs that say what you want them to say and not signs that say what someone else wants you to say, 1992-1993 R-type color print.

This program engages Gillian Wearing’s 1992–93 project, Work Towards World Peace - Signs that say what you want them to say and not signs that say what someone else wants you to say, from 1992-1993.

Niki de Saint Phalle

Niki de Saint Phalle, Arizona Wildlife, 1982, Lithograph.

Niki de Saint Phalle, Arizona Wildlife, 1982, Lithograph.

This program engages Niki de Saint Phalle's joyous piece Arizona Wildlife, which reflects on the ideas of community, and environment.

Senga Nengudi

Senga Nengudi, Ceremony for Freeway Fets, 1978, C-prints.

Senga Nengudi, Ceremony for Freeway Fets, 1978, C-prints.

This program Senga Negudi’s collaborative and experimental Ceremony for Freeway Fets.

Nari Ward

Nari Ward, Carpet Angel, 1992, Carpet, plastic bags, plastic bottles, vinyl carpet runner, springs, wood screws, and rope.

Nari Ward, Carpet Angel, 1992, Carpet, plastic bags, plastic bottles, vinyl carpet runner, springs, wood screws, and rope.

This workshop engages Nari Ward’s enigmatic and metaphorical large scale sculpture, Carpet Angel from 1992.

Mark Dion

Mark Dion, When Dinosaurs Ruled the Earth (Toys 'R' U.S.), 1994, Mixed media installation, Dimensions variable.

Mark Dion, When Dinosaurs Ruled the Earth (Toys 'R' U.S.), 1994, Mixed media installation, Dimensions variable.

This program engages Mark Dion's joyful bedroom installation When Dinosaurs Ruled the Earth (Toys 'R' U.S.), which recreates a childhood bedroom, complete with dinosaur sheets, wallpaper, and posters.

Victor Estrada

Victor Estrada, Happiness, 1994-1995, Foam, plaster and paint.

Victor Estrada, Happiness, 1994-1995, Foam, plaster and paint.

This program engages Victor Estrada's charming sculpture Happiness, which reflects on identity and the experience of living in two cities.

Do-Ho Suh

Do-Ho Suh, Seoul Home/L.A. Home/New York Home/Baltimore Home/LondonHome/Seattle Home/L.A. Home, 1999, Silk and metal armatures.

Do-Ho Suh, Seoul Home/L.A. Home/New York Home/Baltimore Home/LondonHome/Seattle Home/L.A. Home, 1999, Silk and metal armatures.

This program engages Do Ho Suh's evocative piece Seoul Home/L.A. Home/New York Home/Baltimore Home/London Home/Seattle Home/L.A. Home, which meditates on the ideas of longing, memories, and home.