A few miles northwest of Downtown Los Angeles and Skid Row, St. Vincent Medical Center is considered one of the city’s most historical hospitals, having supported Angelenos since the 19th century. Vacant since 2020, the center is slated to become a full-service campus aimed at supporting people with addiction, mental health concerns, housing insecurity, and more. This transformation will begin in the next few months with a final target opening date in 2028 and a wholesale takeover in the meantime.

Through July 31, visitors experience an alternative vision for communal healing, all through the lens of 70 artists. Dubbed the Hospital of Emotions, the pop-up exhibition converts 80 rooms into temporary installations based on eight themes: joy, love, fear, anger, hope, sadness, compassion, and resilience. Among the participating artists are Lisa Waud, whose lush florals spill across an operating room, and Greg Corbino, who built a barren forest from cardboard.

Whatever you might feel in a medical setting is cast in immersive, mixed-media artworks, creatively tapping into the strange, exhilarating, and terrifying experience of being human. “Hospital of Emotions begins with the space itself. A hospital is where we confront fear, but also recognize what matters. Here, the building becomes a journey through human emotion—shifting the focus from treating the body to experiencing and processing emotion,” say exhibition curators from the studio House of Art and Dreams.

More than 10,000 visitors explored the hospital opening weekend, and several weekends are already sold out. Get your tickets and learn more about the project on its website.

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The Colombian artist Delcy Morelos describes her hometown of Tierralta as “a paradise full of butterflies and unpaved streets.” In the late 1960s and early ’70s, Morelos spent her days in her grandmother’s garden, running barefoot and gleaning what it meant to live in connection with the land. When paramilitary and guerrilla troops moved in, though, the region was plunged into a chaotic state of grief and fear.

In her earliest works, Morelos translated the death and destruction plaguing her home into two-dimensional compositions. As she details in a new segment for Art21, acrylic painting was not long her primary mode of working, and quickly, she returned to the earth, incorporating soil, straw, and grass into large-scale installations. The film follows the artist as she installs a sepulchral mound in Seville’s Centro Andaluz de Arte Contemporáneo, a former Carthusian monastery turned art museum that once housed Christopher Columbus’ remains.

Throughout the film, we witness Morelos grab gobs of straw-laden soil and affix the chunky material to a standing structure, which eventually grows a range of produce native to both sides of the Atlantic. In contrast to the space’s colonial ties, the artist’s work presents a way of creating and living that’s entwined in natural rhythms. Visitors are greeted by notes of cinnamon, cloves, and fecund soil before being enveloped by towering walls of growth. Within the vaulted monastery, Morelos’ indomitable forms offer a direct tie to the sacred and divine right beneath our feet.

“Many people believe they are in a bubble, and that is why they can do things that harm nature, harm others, and also harm themselves,” she says, demonstrating a profound sense of care for and connection to all that gives life.

This segment is part of Art21’s Human Nature episode and is available to watch on its site. Find additional films on YouTube.

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At Copenhagen Contemporary, Kengo Kuma and his team have honed in on the Japanese concept of komorebi, which reflects the unique interplay of light and shadow that occurs when the sun filters through the trees. The monumental, site-specific installation “Earth / Tree” harnesses this fleeting condition through a suspended canopy of wooden slats.

Curved with a central opening, the diaphonous structure floats above a brick platform and a pile of rubble. These two organic materials bridge Nordic and Japanese cultures, which both value craftsmanship and continuity with the landscape.

Kuma—who was recently awarded the bid to design the new National Gallery in London—often focuses on “soft architecture,” a mode of working entwined with the environment and people who engage with the space. “Earth / Tree” translates this concept into the Danish museum, where it’s on view through February 21, 2027.

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