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A new LACMA exhibit uses art and science to unlock hidden histories

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A new LACMA exhibit uses art and science to unlock hidden histories

Tavares Strachan loves to blur the lines that separate art, science and historical reckoning — as well as past, present and future.

A native of Nassau, Bahamas, he once carved out a 4.5-ton block of ice in the Alaskan Arctic, had it FedEx’ed to the island nation and displayed it in a solar-powered freezer — an extreme commentary on climate change, displacement and interconnectedness.

Strachan became the first Bahamian to visit the North Pole to understand the harsh conditions that in 1909 greeted Matthew Henson — the Black explorer who accompanied Cmdr. Robert Peary on polar expeditions and was likely the first human to ever stand on top of the world. His feat went unacknowledged for years because he was Black.

This piece from Tavares Strachan’s “Inner Elder” series depicts a crowned Nina Simone as the Queen of Sheba.

(Allen J. Schaben / Los Angeles Times)

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In another project, Strachan honored America’s first Black astronaut, Robert Henry Lawrence Jr. He died in a plane crash while training a test pilot in 1968 before he could take part in any space mission. So Strachan sent a replica of an artwork inspired by Lawrence into orbit on a SpaceX rocket.

Now a collection of Strachan’s work is on view at the Los Angeles County Museum of Art for his first museum show in the city, titled “The Day Tomorrow Began.”

The multisensory exhibition showcases Strachan’s ability to translate his lifelong passion for scientific inquiry and boundary-pushing adventures into pieces that make you question everything you thought you understood about human progress — all while forcing you to see how Black achievements so easily get written out of the history books.

“The pieces of this particular exhibition that I think may hit people are when they start making connections on their own — the synapses start to fire,” the 45-year-old artist said during a recent tour of his show. “You start to tie in, for example, the relationships between this polar explorer Matthew Henson and Robert Henry Lawrence. And then you start to think about the earlier explorers who left the African continent and this pioneering spirit that is a part of what it means to be African that is oftentimes not articulated or discussed.”

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On view until March 29, “The Day Tomorrow Begins” is both whimsical and serious. There is a lot to take in: illustrations and diagrams, displays of traditional African hairstyles, mohair collages made jointly with South African weavers, commemorative ceramics, a field of rice grass whose strawlike scent is meant to pique olfactory memories.

A glassmaker, Strachan covers a wall with two neon signs that spell out quotes by James Baldwin, whose words appear upright, and Mark Twain, whose words appear upside down — in a nod both to the wonders of chemistry and the power of the pen to dissect issues of identity.

In another soaring room, dramatic bronze sculptures flip the script on the triumphs of Western civilization — placing the focus on the oppressed.

One piece depicts the moon, its surface pockmarked by craters. Resting on its north pole is a bust of Henson. Protruding from the moon’s south pole is an upside down bust of Peary.

Fitting for an artist who once put himself through the physical rigors of cosmonaut training, the show feels like a dialogue between opposing forces — boundlessness and constraint, presence and absence.

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Strachan, who lives in New York, said his fascination with science and its hidden histories started while growing up as a curious and “very stubborn” kid in Nassau.

He was about 12 when his family bought the first set of encyclopedias that he can remember. But something was off: few entries featured notable figures who looked like him.

Sculptures making up part of Tavares Strachan's "Inner Elder" series.

Tavares Strachan’s show at LACMA includes a room of whimsical ceramic sculptures from his “Inner Elder” series that are positioned in a field of fragrant rice grass.

(Allen J. Schaben / Los Angeles Times)

“I think this was my first peek into social science,” Strachan said. “Obviously, you can’t collect all of this material without making decisions — you’re deciding what’s seen and what’s unseen. It started to get me going on these questions of visibility and invisibility.”

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Strachan started to ponder his place in the ecosystem — and the universe beyond.

Tired of wearing the clothes that his seamstress mother made for him, Strachan raised money for shopping by working on a fishing boat, spending weeks at a time at sea.

At night, far from shore, more stars flickered than he’d ever noticed, and he was awestruck by the way phosphorescent creatures set the waves aglow.

Strachan learned to navigate by tracking the movements of celestial bodies and hunt fish by reading the currents, building on the ancient knowledge his elders handed down.

Up until then, his 700-island archipelago had felt like the center of the world. Now his curiosity was a universe of possibilities.

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But while his mind raced across the heavens, Strachan couldn’t stop thinking about the voids that made written accounts of pioneering feats and extraordinary voyages on Earth seem incomplete.

Charles Darwin is a household name, but how many people know that the world’s most famous naturalist learned taxidermy from John Edmonstone, a formerly enslaved Black Briton who owned a bird-stuffing shop in Edinburgh, Scotland?

Strachan was in his 20s when he stumbled upon Henson’s achievement.

“Science — that’s the place where knowledge is produced, and meaning,” exhibition curator Diana Nawi said. “How do we know what we know? I think that’s fundamentally what [Strachan]’s asking.”

Nawi said Strachan’s projects resist the “calcification of history,” which she describes as the process in which a dominant group reinforces narratives that glorify themselves while ignoring or actively erasing the contributions of others.

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“Histories are tools of power,” Nawi said. “How do you take that power for different people and different ideas, but also, how do you undo the singular concept of that power?”

Tavares Strachan's illuminated sculpture of Robert Henry Lawrence Jr., the first Black American astronaut.

In Tavares Strachan’s LACMA show, stories of racial uplift and groundbreaking achievements take center stage. This illuminated piece uses glass, argon and electrodes to evoke the spirit of America’s first Black astronaut, Robert Henry Lawrence Jr., who died in a plane crash before he could take part in a space mission.

(Allen J. Schaben / Los Angeles Times)

“In 2020 … it was the toppling of monuments, for instance,” Nawi said, referring to the decommissioning of statues that celebrate the Confederacy in the wake of George Floyd’s murder.

“History is ripe for the retelling and the retaking,” Nawi said.

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That sentiment has many meanings in the current moment.

Some of those removed monuments have been transformed into new artworks that will be on view in the show “Monuments,” at MOCA Geffen and the Brick from Oct. 23 to May 3. At the same time, the Trump administration has attacked public displays of factual but less-flattering aspects of U.S. history as too “woke.”

Strachan’s work also suggests there is power in acts of poetic justice.

Inside one darkened room in the show, a life-size, glass “portrait” of the astronaut Lawrence appears to be levitating as if free from gravitational forces. His frame is lit from within, head-to-toe, by argon trapped in electrified tubes shaped to resemble the human circulatory system, making his soul visible.

America’s first Black astronaut never got to transcend Earth’s atmosphere.

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A view of a new exhibit by Bahamian-American artist Tavares Strachan at LACMA in Los Angeles Friday, Oct. 10, 2025.

Tavares Strachan poses with his installation “Six Thousand Years,” which is made up of 2,000 panels from his “Encyclopedia of Invisibility.” The leather-bound tome contains 17,000 entries that the artist wrote to bring attention to little-known facts and Black trailblazers.

(Allen J. Schaben / Los Angeles Times)

By fashioning this portrait of Lawrence to capture his spirit, and by shooting a satellite honoring Lawrence into orbit, Strachan wanted to metaphorically help him achieve that goal.

“For me it’s important to ensure that when someone has done something incredible, that the level of storytelling is aligned with the nature of the act, hence the audacity of putting an object into space and trying to get his energy back into the cosmos,” Strachan said.

“But also, it’s about having a 10-year-old walk in and be just amazed by the technical feat of creating this glass object.”

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What’s in a Name? For These Snails, Legal Protection

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What’s in a Name? For These Snails, Legal Protection

The sun had barely risen over the Pacific Ocean when a small motorboat carrying a team of Indigenous artisans and Mexican biologists dropped anchor in a rocky cove near Bahías de Huatulco.

Mauro Habacuc Avendaño Luis, one of the craftsmen, was the first to wade to shore. With an agility belying his age, he struck out over the boulders exposed by low tide. Crouching on a slippery ledge pounded by surf, he reached inside a crevice between two rocks. There, lodged among the urchins, was a snail with a knobby gray shell the size of a walnut. The sight might not dazzle tourists who travel here to see humpback whales, but for Mr. Avendaño, 85, these drab little mollusks represent a way of life.

Marine snails in the genus Plicopurpura are sacred to the Mixtec people of Pinotepa de Don Luis, a small town in southwestern Oaxaca. Men like Mr. Avendaño have been sustainably “milking” them for radiant purple dye for at least 1,500 years. The color suffuses Mixtec textiles and spiritual beliefs. Called tixinda, it symbolizes fertility and death, as well as mythic ties between lunar cycles, women and the sea.

The future of these traditions — and the fate of the snails — are uncertain. The mollusks are subject to intense poaching pressure despite federal protections intended to protect them. Fishermen break them (and the other mollusks they eat) open and sell the meat to local restaurants. Tourists who comb the beaches pluck snails off the rocks and toss them aside.

A severe earthquake in 2020 thrust formerly submerged parts of their habitat above sea level, fatally tossing other mollusks in the snail’s food web to the air, and making once inaccessible places more available to poachers.

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Decades ago, dense clusters of snails the size of doorknobs were easy to find, according to Mr. Avendaño. “Full of snails,” he said, sweeping a calloused, violet-stained hand across the coves. Now, most of the snails he finds are small, just over an inch, and yield only a few milliliters of dye.

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Video: This Parrot Has No Beak, But Is at the Top of the Pecking Order

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Video: This Parrot Has No Beak, But Is at the Top of the Pecking Order

new video loaded: This Parrot Has No Beak, But Is at the Top of the Pecking Order

Bruce, a disabled kea parrot, is missing his top beak. The bird uses tools to keep himself healthy and developed a jousting technique that has made him the alpha male of his group.

By Meg Felling and Carl Zimmer

April 20, 2026

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Contributor: Focus on the real causes of the shortage in hormone treatments

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Contributor: Focus on the real causes of the shortage in hormone treatments

For months now, menopausal women across the U.S. have been unable to fill prescriptions for the estradiol patch, a long-established and safe hormone treatment. The news media has whipped up a frenzy over this scarcity, warning of a long-lasting nationwide shortage. The problem is real — but the explanations in the media coverage miss the mark. Real solutions depend on an accurate understanding of the causes.

Reporters, pharmaceutical companies and even some doctors have blamed women for causing the shortage, saying they were inspired by a “menopause moment” that has driven unprecedented demand. Such framing does a dangerous disservice to essential health advocacy.

In this narrative, there has been unprecedented demand, and it is explained in part by the Food and Drug Administration’s recent removal of the “black-box warning” from estradiol patches’ packaging. That inaccurate (and, quite frankly, terrifying) label had been required since a 2002 announcement overstated the link between certain menopause hormone treatments and breast cancer. Right-sizing and rewording the warning was long overdue. But the trouble with this narrative is that even after the black-box warning was removed, there has not been unprecedented demand.

Around 40% of menopausal women were prescribed hormone treatments in some form before the 2002 announcement. Use plummeted in its aftermath, dipping to less than 5% in 2020 and just 1.8% in 2024. According to the most recent data, the number has now settled back at the 5% mark. Unprecedented? Hardly. Modest at best.

Nor is estradiol a new or complex drug; the patch formulation has existed for decades, and generic versions are widely manufactured. There is no exotic ingredient, no rare supply chain dependency, no fluke that explains why women are suddenly being told their pharmacy is out of stock month after month.

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The story is far more an indictment of the broken insurance industry: market concentration, perverse incentives and the consequences of allowing insurance companies to own the pharmacy benefit managers that effectively control drug access for the majority of users. Three companies — CVS Caremark, Express Scripts and OptumRx — manage 79% of all prescription drug claims in the United States. Those companies are wholly owned subsidiaries of three insurance behemoths: CVS Health, Cigna and UnitedHealth Group, respectively. This means that the same corporation that sells you your insurance plan also decides which drugs get covered, at what price, and whether your pharmacy can stock them. This is called vertical integration. In another era, we might have called it a cartel. The resulting problems are not unique to hormone treatments; they have affected widely used medications including blood thinners, inhalers and antibiotics. When a low-cost generic such as estradiol — a medication with no blockbuster profit margins and no patent protection — runs into friction in this system, the friction is not random. It is structural. Every decision in that chain is filtered through the same corporate profit motive. And when the drug in question is an off-patent estradiol patch that has negligible profit margins because of generic competition but requires logistical investment to keep consistently in stock? The math on “how much does this company care about ensuring access” is not complicated.

Unfortunately, there is little financial incentive to ensure smooth, consistent access. There is, however, significant financial incentive to steer patients toward branded alternatives, or simply to let supply tighten — because the companies aren’t losing much profit if sales of that product dwindle. This is not a conspiracy theory: The Federal Trade Commission noted this dynamic in a report that documented how pharmacy benefit managers’ practices inflate costs, reduce competition and harm patient access, particularly for independent pharmacies and for generic drugs.

Any claim that the estradiol patch shortage is meaningfully caused by more women now demanding hormone treatments is a distraction. It is also misogyny, pure and simple, to imply that the solution to the shortage is for women’s health advocates to dial it down and for women to temper their expectations. The scarcity of estradiol patches is the outcome of a broken system refusing to provide adequate supply.

Meanwhile, there are a few strategies to cope.

  • Ask your prescriber about alternatives. Estradiol is available in multiple formulations, including gel, spray, cream, oral tablet, vaginal ring and weekly transdermal patch, which is a different product from the twice-weekly patch and may be more consistently available depending on manufacturer and region.
  • Consider an online pharmacy. Many are doing a good job locating and filling these prescriptions from outside the pharmacy benefit manager system.
  • Call ahead. Patch shortages are inconsistent across regions and distributors. A call to pharmacies in your area, or a broader geographic radius if you’re able, can locate stock that your regular pharmacy doesn’t have.
  • Consider a compounding pharmacy. These sources can sometimes meet needs when commercially manufactured products are inaccessible. The hormones used are the same FDA-regulated bulk ingredients.

Beyond those Band-Aid solutions, more Americans need to fight for systemic change. The FTC report exists because Congress asked for it and committed to legislation that will address at least some of the problems. The FDA took action to change the labeling on estrogen in the face of citizen and medical experts’ pressure; it should do more now to demand transparency from patch manufacturers.

Most importantly, it is on all of us to call out the cracks in the current system. Instead of repeating “there’s a patch shortage” or a “surge in demand,” say that a shockingly small minority of menopausal women still even get hormonal treatments prescribed at all, and three drug companies control the vast majority of claims in this country. Those are the real problems that need real solutions.

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Jennifer Weiss-Wolf, the executive director of the Birnbaum Women’s Leadership Center at New York University School of Law, is the author of the forthcoming book When in Menopause: A User’s Manual & Citizen’s Guide. Suzanne Gilberg, an obstetrician and gynecologist in Los Angeles, is the author of “Menopause Bootcamp.”

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