Kanye West and Bianca Censori were spotted on a rare joint outing together in Los Angeles on Thursday, Daily Mail reports.
The 48-year-old rapper – who was recently seen in Seoul with the Australian architect over the past weekend – arrived to the iconic Chateau Marmont alongside his wife before later meeting up with a pal.
Censori was seen donning a pair of white tights as well as a fitted white top and closed-toed white heels.
Her dark locks were swept up into an up do, allowing loose strands to border the sides of her face.
Kanye West – who also goes by Ye – kept it casual for the nighttime excursion in a denim jacket as well as a black hoodie underneath.
After spending time inside the historic hotel, the couple were later spotted heading to their next destination in the same vehicle.
Kanye West and Bianca Censori who tied the knot in 2022 – were also seen over the past weekend as they arrived to an airport in South Korea after Censori’s debut exhibition.
She opted to ditch pants as they strolled hand-in-hand and instead donned tiny black shorts and a fitted black top.
Censori also slipped into a pair of nude-colored, thigh-high boots and easily carried a smartphone in her left hand.
The Heartless rapper also opted for an all-black outfit which comprised of baggy leather pants as well as a Yeezy Season 10 hoodie.
The architect recently opened up about her risqué looks – which has seen Censori opting for scantily-clad outfits in public.
Earlier this year in February, she went nude in a shocking stunt at the 2025 Grammy Awards alongside her husband.
The media personality opened up about the topic during a conversation with Interview Magazine, with a woman speaking for Censori.
The wife of West explained that she is aware of the backlash garnered for her daring ensembles, but said that attention has not been the ‘goal’ for her.
‘A woman in the public eye is forced to watch versions of herself multiply without her consent.
‘People project, people invent, people erase. So she sculpts the versions they create, the phantom selves,’ the woman speaking for Censori told the outlet.
It was also added, ‘This is not a confession of feeling trapped. This is an act of repossession. She is reclaiming the unauthorized clones. She’s not trapped in her image.
She’s multiplying it until the original becomes myth.’
The woman said that Censori does not let negative comments on social media affect her, further expressing that she is aiming towards ‘self-expression.’
‘Bianca views social media neutrally, not as something she’s emotionally invested in, but as a space where perception mutates quickly and publicly.’
The lady continued, ‘She doesn’t seek praise or backlash, but she pays attention to how both form and circulate.
‘They’re two sides of the same perceptual mechanism, and the contrast between them is useful.’
It was additionally noted that, ‘Backlash isn’t a goal, but it is revealing. It shows where cultural sensitivities sit and what people are unable or unwilling to name directly. Bianca’s end goal is self-expression.’
Censori and West’s latest outing together comes shortly after her exhibition BIO POP (THE ORIGIN) was slammed.
She debuted the bizarre exhibition and performance earlier last week on Thursday, which featured women posing in a variety of provocative positions on furniture.
The ‘human furniture’ was designed by the architect herself and touches on the theme of domesticity.
‘Domesticity is the mother of all revolutions, because all others trace back to it,’ per an official statement. ‘Born in the domestic, the home molds the body, the spirit and its roles. Positions learned in private are worn in public.’
Censori also made an appearance during the performance while wearing a red latex bodysuit.
She also took part in a dining room scene that was unveiled which saw her sitting at a table while surrounded by her ‘human furniture’ and a red cake placed in front of her.
During a recent interview with Dazed, Censori offered insight into the exhibition while referring to herself in the third person as simply Bianca.
At one point, the star was questioned if her own ‘public persona’ had been an inspiration to the creativity behind BIO POP.
In response, she said, ‘Bianca uses herself as a symbol. The work exposes what resonates in other people’s psyches.’
And as to why she chose to debut the piece in Seoul, Censori explained, ‘Korea understands ritual, performance and futurism as one system.’
A follow-up installment, CONFESSIONAL (THE WITNESS), is scheduled for next year in 2026.
Another titled BIANCA IS MY DOLL BABY (THE IDOL) is also set for 2026 while additional works are scheduled to debut through 2027 and beyond.
The series is set to come to an end later in 2032 with BUBBLE (THE ASCENSION).
However, the exhibition has since been slammed for sexually exploiting women – with social media users sharing their thoughts in the comment section of an Instagram post Censori uploaded to give a glimpse at the art piece.
One penned, ‘And why are people supporting this?’ while another typed, ‘Interesting. Women are sexualized objects? Let’s turn men into objects.’
‘Well that got REAL weird real quick. This monstrosity is a hard no from me especially working in health care!!’ a follower wrote.
A fan added, ‘How is this art?’ and one commented, ‘One of the most disturbing IG accounts out there.’
But others came to the defense of Censori, pointing out that the exhibition has similarities to other artists.
‘Let’s be clear about that this is artistically inspired by Anna Uddenberg, Vanessa Beecroft and Allen Jones,’ an Instagram user also penned.