Los Angeles-based artist Kohshin Finley is extending his creative practice beyond the gallery walls with a new public sculpture debuting at Frieze Los Angeles. The perform, titled …and someone was playing the piano, right? (2026), will be on display at the Santa Monica Airport campus from February 26 through March 1 as part of the Body & Soul exhibition, curated by Art Production Fund. This marks a significant moment for Finley, allowing him to connect with a broader audience and explore the challenges and opportunities of public art.
Finley’s sculpture consists of a series of large-scale stoneware vessels presented within shadow box shelving, designed to be viewed from multiple perspectives. The decision to exhibit outdoors prompted a shift in his artistic approach. “You have to worry about the logistics of people coming up to it and touching it,” Finley explained, acknowledging the vulnerability of a public installation. “This thing is going to be open to people on the street day, and night.” This awareness of the environment shaped the scale and structure of the piece, ensuring it could withstand the elements and remain engaging in a dynamic public space.
A Homecoming for the Los Angeles Native
For Finley, this exhibition holds a particularly personal resonance. Growing up in Los Angeles, he frequently visited the Barker Hangar in Santa Monica, now the site of Frieze Los Angeles. “Ever since I graduated long ago from Otis College of Art and Design, my goal was to always show here in L.A.,” he said. He views public presentations as a vital opportunity to share his work with the community that has shaped him, bridging the often-isolating nature of studio practice with a broader audience. The artist’s connection to his hometown adds another layer of meaning to this outdoor installation.
From Painting to Pottery: A Pandemic-Era Shift
While Finley is primarily recognized as a figure painter, his exploration of ceramics began during the onset of the COVID-19 pandemic. Encouraged by his wife, he enrolled in a ceramics class as a creative outlet. Initially hesitant, as painting had long defined his career, Finley discovered a new artistic language in clay. “There was something so special about the feeling of getting a ball of clay, making a bowl and collaborating with the earth and nature that’s in this ball of clay to build something new,” he explained. Over the past six years, he has immersed himself in the medium, studying its history and pushing its boundaries.
Ceramics as Heritage: A Dialogue with the Earth
Finley’s exploration of ceramics is deeply rooted in his identity as a Black and Mexican artist. He sees the practice as an inherited language, connecting him to the long histories of working with earth on both sides of his heritage. “Thousands of years of ceramics are still made in the same way,” he noted, acknowledging the enduring traditions embedded within the process. This connection to lineage informs his approach, emphasizing the continuity between past and present.
Expanding Access to Art
…and someone was playing the piano, right? represents Finley’s third participation in Frieze Los Angeles and his first outdoor installation at the fair. He expressed particular interest in how audiences who may not typically engage with art events will respond to the work. The Body & Soul section, by placing major commissions in accessible public spaces, aims to bridge the gap between the art world and the wider community. Finley believes this openness is crucial, stating, “I think there’s some real communal magic that happens about it.”
The artist is eager to observe how the public interacts with his sculpture, anticipating a dynamic exchange between the artwork and the community. He hopes to witness how people respond to the piece and what meanings they bring to it, emphasizing the collaborative potential of public art. The free and open access to the installation, running through March 1, invites all to participate in this artistic dialogue.
As Frieze Los Angeles continues to evolve as a major art destination, Finley’s outdoor installation serves as a compelling example of how art can transcend traditional boundaries and engage with the public in meaningful ways. The next step for those interested in Finley’s work will be to observe the public’s response to …and someone was playing the piano, right? throughout the duration of the exhibition.
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