What a wonderful world indeed. The Julia Stoschek Foundation, one of the globe’s foremost custodians of time-based art, makes its first major U.S. appearance with What a Wonderful World: An Audiovisual Poem, edited by Udo Kittelmann. Over six floors of the Venetian-style Variety Arts Theater in downtown Los Angeles, the exhibition unfolds as a meditation on the human pangs to distill the ephemeral into something that endures—an inquiry into how we continue to see, record, and imagine the world around us.

What makes the world truly wonderful is its penchant for motion. Here, the early luminaries of cinema and forever perpetuators of this motion—Alice Guy-Blaché, Georges Méliès, Luis Buñuel, Walt Disney—converse with contemporary provocateurs such as Marina Abramović, Arthur Jafa, Cyprien Gaillard, and Anne Imhof. Each work throbs with the ceaseless curiosity, the uncontainable energy, the infinite imaginative reach of its creator. Silent films flicker and contemporary video reverberates, and in this confluence, the visitor perceives the world’s vastness, its intricacy, and the boundless ways humans have sought to capture and reconfigure it.

Kittelmann’s curatorial rigor guides this journey, yet is not bound by aphorism, leaving room for delight, reflection, and active curiosity. The exhibition, above all possible meaning, is about the unending capacity of art to expand perception, to fold time, and to hold the ephemeral in sustained attention.

What a Wonderful World is, in the truest sense, infinite: a space where light, movement, and imagination continue to ripple outward, inviting the viewer to witness, to marvel, and to recognize that the world, in all its fragile and luminous complexity, may always surprise, expand, and endure. Appetite never ceases. May we forever be inexhaustibly, wonderfully boundless.