Set Seen: Pippa Garner’s “Haulin’ Ass!”, 2023

in Frieze Los Angeles , Frieze Projects | 22 FEB 24

For Frieze Los Angeles 2024, Art Production Fund will be presenting the on-site public program ‘Set Seen’, featuring works that speak to constructed environments and how they relate to our perception of reality and understanding of space. These projects are in dialogue with the rich history of set design in Los Angeles and specifically the role that set designers played in camouflaging the former Douglas Aircraft Company factory at Santa Monica Airport. This program is free to the public, and select projects will remain on view through April 7, 2024.

Pippa Garner, Haulin' Ass!, 2023


Haulin Ass!, 2023, is a fully-functional 2003 Ford Ranger pickup truck with its exterior rotated 180 degrees and welded back together so it appears to face the wrong way as it drives. Adorned with super-sized Truck Nutz, the car will be activated and driven in the surrounding area throughout the duration of the fair. Commissioned by Art Omi, Haulin' Ass! revisits the artist's first major conceptual car, Backwards Car, a deconstructed 1959 Chevy with its exterior rotated 180 degrees, which the artist drove across the Golden Gate Bridge in San Francisco in 1974. 

Haulin' Ass! will be taking drives around Santa Monica Airport at 12 and 4pm each day from 29 February - 3 March.

pippa garner
Pippa Garner, Haulin’ Ass!, 2023. 2003 Ford Ranger pickup truck, truck nuts, bumper stickers. Courtesy the artist and STARS Gallery, Los Angeles. Photo: Gregory Carideo. Commissioned by Art Omi. Fabricated by ARCANA.


Born in 1942 in Evanston, Illinois, based in Long Beach, CA.  Pippa Garner has offered deviant solutions to everyday problems for more than five decades. Her diverse body of work spans drawing, mail-order catalogs, classified ads, custom cars, tattoos, garments, and performances on the streets and on television. In the mid-80s, Garner began gender hacking, viewing her body as an appliance that could be altered like a commercial product. Embracing pleasure, kink, and the perversion of mass-produced products, Garner’s work imagines ways to restructure environments, everyday devices, and parodies the contradictions of commodity fetishism from the 1960s to today.