You probably remember Melrose Place as a vapid, if enjoyable, look at a Los Angeles apartment complex. But the show had more depth than anyone realized. Starting in 1996, the program served as a highly visible billboard for up-and-coming artists.
Melrose’s foray into the art world was masterminded by conceptual artist Mel Chin. As Chin told the Los Angeles Times in 1997, “Everyone criticizes television, but nobody tries to intervene to give it the meaning it lacks.” Chin founded the GALA Committee to do just that.
When Chin approached Melrose set decorator Deborah Siegel with the idea of dressing the show in avant-garde works, she immediately approved. Together the GALA Committee and Siegel collected pieces from artists around the country and worked them into the show. Each time viewers tuned in for a little trashy fun, they got a hidden dose of culture.
Some of the art was surprisingly subversive. Most famously, when Courtney Thorne-Smith’s character was struggling with an unplanned pregnancy, she spent two episodes hunkered down in a comfy quilt. A closer look revealed it wasn’t just a pretty pattern—it was also the molecular structure of the abortion drug RU-486.
The art world, for its part, embraced the exposure, and in 1997, the Melrose Place pieces were displayed in their own show at the Museum of Contemporary Art in Los Angeles.