Ascending a dim, narrow staircase—sometimes navigating around artists carrying canvases—and through a weighty metal door, I enter the studio of Li Hei Di (b. 1997). By London standards, her studio feels spacious. Its walls play host to her expansive artworks, many yet unfinished. Ethereal figures appear submerged in shallow waters within these canvases but are only visible when I pause long enough to see them. The figures, bathed in a glow of soft fluorescent lights, are mythical and cinematic at once.

On a plaque at the Watts Towers Art Center, adjacent to the iconic spires built by Simon Rodia, is a quote by the institution’s late co-founder, the renowned artist Noah Purifoy: “Creativity can be an act of living, a way of life, and a formula for doing the right thing.” The phrase, as well as Purifoy himself, has inspired Acts of Living, the sixth iteration of the Hammer Museum’s contemporary art biennial, Made in L.A. — and the first since the UCLA building was expanded this year thanks to a capital campaign that counted Marcy Carsey and Darren Star among its top contributors.

The Puerto Rican painter and computer engineer allows his two spheres of practice to inform one another, yielding intricately gridded canvases that both reveal and shed a soft light on the entanglements between man and machine.

While a student at Hollywood High, Shirley Morand was prevented from accepting a scholarship to the San Francisco School of Fine Arts by her father, who felt she didn’t need further education. Sometime later, she would receive a tap on the shoulder while in line for Cocteau’s 1930 film, The Blood of a Poet, at the Coronet Theatre in Los Angeles.