The Brief

A protest of New York’s Museum of Modern Art — over a 1984 exhibition that included only 13 women among a group of 169 artists — was a bit of a blip at the time.

The bigger impact was that the protestors would go on to found a long-running activist collective called the “Guerrilla Girls,” that would become known around the world for its outspoken calls for equity for women and people of color in the art world.

Now the anonymous group, who don gorilla masks and assume names of women artists of the past to maintain their anonymity, has its own exhibition at the Getty Research Institute in Los Angeles, called “How to Be a Guerrilla Girl.” 

Though that doesn’t mean the collective is sparing the Getty when it comes to calling out how museums perpetuate inequity through their acquisitions and exhibitions.

How the “Guerrilla Girls” got the art world’s attention

Using straightforward language, glaring statistics and humor and disseminating their messaging through protest signs, flyers, letters and postcards, eye-catching billboards and numerous media appearances, the Guerrilla Girls gained worldwide attention.

Guerrilla Girls posters on display at the "How to Be a Guerrilla Girl" exhibition at the Getty Center.

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Monica Bushman / LAist

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The gorilla masks (and sometimes gloves too) didn’t hurt either. The use of the disguises grew out of one members’ confusion between the words “guerrilla” and “gorilla,” and became an essential part of the group’s collective public identity.

What’s on display in “How to Be a Guerrilla Girl”

The “How to Be a Guerrilla Girl” exhibition draws from the first 15 years of the Guerrilla Girls’ archives, which the Getty acquired in 2008, to show the stages of development — from lists and drafts to final products — of the various methods the collective has used to spread their calls for change.

"The Advantages of Being a Woman Artist" is one of the Guerrilla Girls' most well known works. Early drafts of it are included in the "How to Be a Guerrilla Girl" exhibition.

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Monica Bushman / LAist

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Some of the group’s best known works are posters that read “Do women have to be naked to get into the Met[ropolitan] Museum [of Art]?” and another titled “The Advantages of Being a Woman Artist,” which lists things like “Having an escape from the art world in your [four freelance] jobs” and “Not having to undergo the embarrassment of being called a genius.”

Zanna Gilbert, one of the exhibition’s lead curators, says that while there have been many other Guerrilla Girls exhibitions, what makes this one unique is how it shows the behind the scenes work and thought processes that led up to these final products.

 “We have a lot of their brainstorming notes so you can really see the process of how they did their activism,” Gilbert says. “So we see it as a kind of toolkit for other people to learn from them.”

Not sparing the Getty from criticism

The exhibition also includes excerpts from the group’s media appearances through the years (like this one on The Late Show with Stephen Colbert in 2016) and an interactive digital display titled “What about Getty?” that reveals stats on how the Getty Museum and Research Institute measure up when it comes to the inclusion of women in collections and exhibitions over the years.

One example: “In the Getty Museum’s painting collection: 81.15% are by men, 18.03% are by anonymous, and less than 1% are by women (0.82%).”

“Institutional reflection is a strategy often used by the Guerrilla Girls when they're invited to do a project at an institution,” Kristin Juarez, also a lead curator of the exhibition, explains. “That if you're inviting the Guerrilla Girls to kind of bring what they do to your institution, you should also be open to reflecting on the work that they're doing.”

A portion of the new Guerrilla Girls work in the "How to Be a Guerrilla Girl" exhibition.

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The Getty also commissioned a new work from the Guerrilla Girls, which features their takes on the content of some of the paintings and sculptures in the Getty Collections, using cartoon speech bubbles to add commentary from the imagined perspectives of the women depicted in them.

The relevance of the Guerrilla Girls today

“ We think that this is an interesting moment, 40 years later, [when] some of the work still feels like it was made today,” Juarez says.

Taken together as a whole, she hopes the exhibition offers viewers a sense of “what it means to form a group and use your voice together.”

What to know before you go

The “How to Be a Guerrilla Girl” exhibition is open at the Getty Center now through April 12, 2026 and is presented in both English and Spanish.

Admission to the museum is free but requires a reservation. Parking is $25 ($15 after 3pm, $10 after 6pm, and free after 6pm on Saturdays). Metro bus 761 stops at the Getty Center entrance.

Lines stretched around the block Sunday at the Original Saugus Cafe in Santa Clarita. It was supposed to be the restaurant's last day before closing after 139 years — making it the oldest continually operated restaurant in Los Angeles County.

But earlier this week, a sign was posted on the door saying, "Reopening under new ownership soon," although there were few details about who would be running it.

The sign was a surprise to the Mercado family, who have operated the restaurant for nearly 30 years. The family now is in a legal dispute with the Arklin family, who owns the property, about the potential re-opening and who owns the historic name.

The background

Alfredo Mercado worked his way up from bartender to restaurateur, purchasing the business in 1998. Since then Mercado and his daughters have operated the restaurant, leasing from the Arklin family. For most of that time, according to the Mercado side, the two families maintained good terms. Property owner Hank Arklin Sr., a former state assemblyman who owned other properties in the area, kept a verbal month-to-month agreement with the Mercados — no written lease required.

That changed when Arklin died in August at age 97.

New terms, failed negotiations

Larry Goodman, who manages multiple properties for the Arklin family's company, North Valley Construction, took over the landlord relationship. In September, the Mercado family say they were presented with a new written month-to-month lease.

Yecenia Ponce, Alfredo's daughter, said the new terms included various changes to the existing agreement, including a rent increase and charges for equipment.

Months of back and forth negotiations about different options, including selling the business, ultimately fell apart. Their attorney, Steffanie Stelnick, says they are being forced out, without proper legal notice, and has sent a cease-and-desist letter to Goodman saying the family has plans to continue running the business.

LAist reached out to Goodman for comment repeatedly Wednesday and Thursday by phone but did not hear back.

Goodman told The Signal, a Santa Clarita valley news outlet, that Alfredo Mercado had changed his mind several times in recent weeks about keeping the business.

“I said, ‘Fine,’ then I got out and got someone to take it over,” Goodman said.

He said he'd been in contact with Eduardo Reyna, the CEO of Dario's, a local Santa Clarita restaurant, and that the cafe could re-open as soon as Jan. 16.

Who owns what?

The dispute also focuses on who owns the rights to the Original Saugus Cafe name.

Ponce said when her father purchased the restaurant in 1998, it was called The Olde Saugus Cafe, but the name was then changed to The Original Saugus Cafe. State records show that name registered as an LLC under Alfredo Mercado.

After Arklin’s death, however, the Arklin family filed a pending trademark application to lay its own claim to the name.

The Mercado family is resisting.

"As long as they don't buy the name from us, we're not handing it over," Ponce said.

Ponce said the family had no idea the landlord planned to continue operations.

"We truly did think we were closing," she said. "We were not aware that they had plans to continue."

She apologized to customers for the confusion.

Whether the decades-old restaurant name survives — and under whose control — may ultimately be decided in court.

Community leaders and politicians in Los Angeles are responding in outrage after an ICE agent shot and killed a woman in Minnesota on Wednesday.

The fatal ICE shooting of 37-year-old Renee Good has sparked anger and fear in Los Angeles, which has been an epicenter of federal immigration enforcement since the summer.

Jorge-Mario Cabrera with the Coalition for Humane Immigrant Rights, or CHIRLA, says the killing was upsetting but not surprising.

" Los Angeles has been witness of the escalating aggressiveness of these federal agents against the community," he told LAist.

Homeland Security Secretary Kristi Noem has defended the shooting, saying Good was trying to run agents over with her car. That account has been disputed by eyewitnesses, the mayor of Minneapolis and other officials. Bystander video also challenges the federal narrative, according to MPR News.

L.A. politicians have joined a chorus demanding justice for Good. Mayor Karen Bass posted on X, saying that ICE agents are waging "a purposeful campaign of fear and intimidation" on American cities.

"The senseless killing of an innocent and unarmed wife and mother by ICE agents today in Minneapolis is shocking and tragic and should never have occurred," she said in the post.

L.A. County Supervisor Janice Hahn called on Noem to withdraw ICE from U.S. cities.

“These ICE agents are undertrained and trigger happy and everyone who has seen this video knows ICE murdered this woman,” she said in a statement.

Some protesters also gathered outside the federal building in downtown L.A. Thursday morning to condemn the killing.