Mini golf, but make it art. This year, three artists trade canvases for golf holes — putt your way through these fully playable sculptures, no screen required.

WeHo Neon Diver — by Suze Riley (@suzerileystudio)
Drop your ball into the iconic WeHo diver, watch it roll through his body onto a pool green, then dodge beach balls to the hole.

Reflections of Palm Springs — Isabel Araneda (@isascapes)
A mid-century desert pool painting turned playable landscape, straight from this exhibiting artist’s signature series.

The Blooming Vortex — Heather Bellino (@heather_bellino)
Bank your ball around a sculptural flower’s spiraling petals for a game of pure, playful chance.

Transatlantic duo, Adam Rose and Richard Hoffman, join forces to bring their TP Catalogs to LA within an immersive viewing experience. Featuring The British Museum, the TP Catalogs uses the institution’s own toilet paper to catalog its artifacts, inviting questions on ownership of art, culture, and toilet paper. Utilizing Rose’s decade of Off Broadway design experience and Hoffman’s formal art training at Central St Martins, the TP Catalogs will be hung in a hand painted mens restroom that brings the private public and forces vulnerability to view their artwork.

No headlines. No breaking news. Just games, puzzles, and fun facts — the only part of the newspaper you actually wanted anyway.

Created by the co-founder of Hunch Studios (the team behind best-selling games like INCOHEARENT), and an award-winning designer, The Funday Press is a screen-free answer to the scroll. Their bet: offline can be just as engaging, surprising, and rewarding as online. Each issue is obsessed over for dozens of hours before it ever hits print.

Pull up a seat, grab a pen, and get lost in a puzzle for a few minutes. Finished? Leave it behind for the next person to pick up where you left off.

Take one. Solve it. Pass it on.

Tucked into its own dedicated corner of the fair sits a single, oversized ceramic fortune cookie created by artist Gina Su. Inside, it holds messages left behind by strangers — wishes, warnings, pieces of wisdom, jokes — each one written on a small strip of paper by a visitor just like you.

Take a moment to write your own fortune and leave it inside, then take one left by someone before you. Every exchange is a small act of faith between strangers: you never know who wrote what you’re about to read, or who will end up reading yours.

Equal parts sculpture, ritual, and chain letter, Take a Fortune, Leave a Fortune turns one corner of the fair into a quiet, ongoing exchange of anonymous voices — one fortune at a time.

An installation by Adam Daley Wilson (@adamdaleywilson)

At 24 feet by 10 feet, this is the artist’s largest work to date: 384 individual paper pieces across 16 colors, each bearing an original phrase, question, or invented glyph — a new human vocabulary built from the body-felt experiences we all share, regardless of culture or language.

In an age of “empty intelligence,” Adam Daley Wilson asks a deceptively simple question: do we want a language that belongs only to us? One AI can’t replicate, translate, or claim? When Will You Want The New Human Language is both an installation and an invitation — a four-day dialogue between artist and audience about what’s worth protecting, and how.

Following two acclaimed installations at The Other Art Fair (NY/Brooklyn, 2017–18) and a public billboard series with EXPO Chicago (2026), Wilson — a conceptual artist, appellate lawyer, and public-interest advocate based in Portland, Maine — brings his most ambitious cave painting yet to Los Angeles, a city whose text-based conceptual art lineage (Ruscha, Baldessari, Kruger, Holzer, and others) runs through every panel of this piece.

Part manifesto, part performance, part plea. As the artist puts it: I refuse to lose the human.

Step inside a honeycomb of interlocking wood panels — no nails, no screws, no glue, just geometry holding itself up. Built by LA-based architect and artist Gregg Fleishman, Octo II is a walk-in sculpture where every piece fits together like a puzzle, giving visitors a rare chance to step into one of his structures up close.

About the Artist

Gregg Fleishman is a Los Angeles-based architect, designer, and artist working at the intersection of geometry, engineering, and craft. A 1970 graduate of USC’s School of Architecture and a licensed California architect, he spent nearly two decades in commercial construction before turning to furniture and structural design in 1975 — developing his signature method of complex, sculptural forms built entirely from interlocking wood panels. His furniture is held in museum collections including MoMA New York, and his work has been featured in the Los Angeles Times, the San Francisco Chronicle, the New York Times, and the Wall Street Journal. Since 2007, Fleishman has been a fixture at Burning Man, building large-scale structures nearly every year — including the six-story “Temple of Whollyness” and the “Otic” series — and has built annually at Thailand’s Wonderfruit Festival since 2015. Now based in a studio in Lincoln Heights, he continues developing what he calls “infinite architecture”: a modular system of geometric parts that scales from a single chair to a habitable structure, with an eye toward one day building full communities from the same principles.

They weren’t just talented — they built themselves on purpose. One color, one perspective, one glittering persona at a time, until each became inseparable from their own name. Three mini exhibitions honor three icons lost in 2026, each dedicated to a single figure: the red that defined six decades of couture, the restless curiosity that turned an iPad into a paintbrush, and the rhinestones that made vulnerability look like glamour.

All work is created by artists exhibiting at The Other Art Fair Los Angeles — and every piece is priced at $500 and under, so a piece of this tribute can go home with you.

For over four decades, Gregg Fleishman has been building at the intersection of art, architecture, and engineering — geometric wood structures assembled without a single nail, screw, or drop of glue. His plywood chairs have earned a permanent home in MoMA’s collection, and his large-scale installations, including the six-story “Temple of Whollyness,” have become landmarks at Burning Man, where he’s built annually since 2011.

At the fair, that same philosophy comes to human scale. Step into a lounge space furnished with a bespoke collection of his signature chairs, coffee tables, and light fixtures — each piece a puzzle of CNC-cut panels that lock together into sculptural, load-bearing form. No fasteners. No mass production. Just decades of geometric obsession distilled into furniture you can sit in.

Come experience functional art built by one of the underground’s most enduring makers.

Be one of the first 500 through the doors Thursday night and your opening drink is free — because the best way to start Analog Hour is with something you can actually hold in your hand.