Feia is thrilled to announce Coisas Feia’s, an irreverent 20-artist group exhibition celebrating all things Feia, presented in the patio of Cabana 132 at Felix Los Angeles, 2026. The show reflects Feia’s first year as a gallery while offering a knowing wink toward what lies ahead. Bringing together artists from Los Angeles, New York, Richmond, and beyond, Coisas Feia’s assembles together a diverse yet deeply interconnected cohort of cutting-edge contemporary voices. 

Marianna Peragallo, Danielle Klebes, Josh Cabello, and Kim Garcia were among the first artists to embrace Feia’s antics, appearing in early art fairs almost exactly one year ago. At the time, Feia co-founder Thomas Pilnik jokingly promised Josh and Kim that they would be partying poolside at Felix in 2026. Sometimes, when you speak, the universe listens. Soon after, nearly all of the artists in this exhibition said yes to the threat of their work’s imminent destruction in Feia’s not-quite-inaugural show, Demolition Derby. Some of that work now lies under the concrete foundation of Feia’s brand-new 1200-square-foot gallery space, which is slated to open this Spring in Highland Park. Some, perhaps more fortuitously, lives on in the hands of a wide swathe collectors. 

With that new space comes permanent programming, and Coisas Feia’s offers a preview of what that future holds. Between Melanie Delach’s ruminations of grief and queer identity, Luke Forsyth’s obsessive textural practice, Charles Hickey’s engagement with the past as a means of processing the present, Casey Baden’s tender treatment of material, Raina Lee’s tongue-in-cheek recreations, Nicholas Bono Kennedy’s gentle renderings of everyday scenes, Patrick Pipkin-Arnold’s narrative power, and so much more, this patio feels alive and charged with the potential energy of what’s to come. 

Materially rich, narratively driven, visually dense, conceptually grounded, rigorously researched, meticulously crafted, filled with flaws, deliberately difficult, and fundamentally vulnerable describe some of the lenses through which to view the work in Coisas Feia’s, and the values Feia will continue to build upon. In the months and years ahead, audiences will see Paul Anagnostopoulos deftly merge ancient Greek craft with contemporary queerness, Tadashi Adamson transform domestic space into a cheeky, nostalgic universe, Janet Loren Hill leverage historical propaganda to reconsider the present global landscape, and so much more. 

Coisas Feia’s is a visual feast, an impious poolside buffet, a taste of what is to come at the vanguard of craft and visual art, and a clear stake in the ground for the future of Feia.

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Feia is proud to present Drawing the Curtains, a solo exhibition of new and recent works by Charles Hickey at Felix Art Fair, 2026. Hickey, a Los Angeles based artist, works at the intersection of painting, sculpture, and design. His practice centers on the 3D pen - a handheld tool that extrudes colored plastic - to create works that merge the immediacy of drawing, the history of painting, and the materiality of sculpture.

For Felix, Feia and Hickey present a total intervention of a Roosevelt Hotel Cabana. Bedside lamps designed by Hickey replace the standard lighting. Plastic and oil paintings line the walls, referencing canonical still lifes through a thick, process-heavy lens. In the bathroom, familiar objects - carefully rendered in drawn plastic - reintroduce intimacy and slowness to often-overlooked rituals. Nothing in the space is passive as every object, functional or sculptural, contributes to the composition of the room as a whole. Drawing the Curtains embodies the shared spirit of Feia and Felix: artist-driven, materially curious, and spatially integrated. Hickey’s work lives precisely within this world as he doesn’t simply place objects in a room or in his compositions; he transforms the room into the artwork. This is clear from his recent solo exhibition at Albertz Benda - a site-specific mixed media intervention in a bathroom - which was included in Artnet’s “Shows to See During Frieze Week 2024”.

Hickey’s pieces are grounded in an ongoing conversation with the still life tradition against the everyday inundation of present-day visual culture. His compositions frequently nod to the Old Masters, reinterpreting their formal concerns using contemporary tools. Hickey places, for example, a Picasso masterwork into the composition the same way he does an apple. As an apple can be a tie in to fertility in Greek mythology, reference Adam and Eve’s temptation, or even speak to Cézanne’s color studies, a Van Gogh inside one of Hickey’s paintings becomes a symbol of technique, rhythm, and color.

Drawing the Curtains provides a meditation on material and memory, while acting as a playful reimagining of how art lives alongside us. The show gives Felix visitors a moment of immersion, care, and humor by providing an environment that encourages stillness, attention, and renewed engagement with the act of looking.