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Fight Looms Over Medi-Cal for Adult Immigrants Without Papers

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By David Gorn, California Healthline

 

A plan to offer full state-sponsored health benefits for adult immigrants without papers is likely to spark one of the biggest political fights of the year in Sacramento.

 

Sen. Ricardo Lara, D-Bell Gardens, introduced a bill last year to extend full Medi-Cal benefits to everyone living in California, regardless of immigration status. The scope of that bill was narrowed to cover only children, and it is now law.

 

An estimated 240,000 undocumented children will become eligible in May for full coverage through Medi-Cal, California’s version of Medicaid, which provides health care for people with low incomes.

 

The next step, Lara believes, is to extend that coverage to 1.2 million adult immigrants living in California without legal documents and without health insurance.

 

Covering children without papers is one thing, but providing the same benefits to adults, who vastly outnumber the children, is a far more expensive — and contentious — proposition.

 

Some critics point to the cost — hundreds of millions of dollars. Others say it is simply wrong to spend tax dollars on people who, they say, have no right to be here.

 

Proponents say unauthorized immigrants are part of the state’s economic fabric and it benefits no one if they are sick.

 

“There’s a lot of momentum right now for this, it will definitely be at the forefront this year,” said Jesse Melgar, a spokesman for Lara.

 

Cost is the big issue, said Lucien Wulsin, executive director of the Insure the Uninsured Project. Initial estimates have ranged widely: The UC Berkeley Labor Center estimates $350 million a year while an Assembly analysis says it could hit $740 million.

 

Melgar said Lara wants to wait for the Senate budget analysis before targeting specific funding sources. “Right now it’s premature to discuss cost estimates,” he said.

 

Melgar noted that Gov. Brown “strongly supported” Medi-Cal coverage for the children, and said Lara hopes to work out a plan with the governor’s office to pay for the adults.

 

For some people, money is not the main issue.

 

No matter the price tag, it’s not how we should be spending our tax dollars, said Jon Coupal, president of the Howard Jarvis Taxpayers Association.

 

“I think it’s horrible policy” and it would be “a magnet for more of the undocumented to come to this state,” Coupal said. “I think it’s hard to look taxpayers in the eye and say you want to provide medical care for people who don’t have a legal right to be here. It’s just not fair.”

 

But immigrants, including those undocumented, are a workforce reality in California, said Laurel Lucia, health care program manager at the U.C. Berkeley Labor Center.

 

She said that immigrants without papers constitute about nine percent of the state’s workforce, “and having a healthy workforce is important to all of us.”

 

Lucia noted that of the estimated 1.2 million immigrants in California who are undocumented and uninsured, roughly 870,000 receive federally funded emergency services.

 

The initial costs of full Medi-Cal coverage, she said, could be a little lower than expected because of the emergency care those immigrants receive. If people get no care at all, they tend to have more untreated conditions that can drive up the cost of treating them later, she explained.

 

Coverage of adults, Lucia added, could also lead to better coverage for children, since many eligible kids in families of mixed-immigration status go without care.

 

“About three-quarters of the households headed by an undocumented adult have a citizen in the family, and often a citizen child,” she said. “The whole family might not sign up for coverage, even if they’re eligible.”

 

The demographics of those targeted by Lara’s plan could make Medi-Cal coverage less expensive than average, Wulsin said. “That population tends to be a younger, low-using population.”

 

A political wild card could dramatically shift the conversation, such as the status of President Obama’s executive order granting temporary work permits and a reprieve from deportation to five million undocumented present immigrants across the country.

 

A federal district court suspended the order, and the Supreme Court is expected to hear the case this spring. If it is allowed to take effect, the cost of Lara’s proposal could go down. With work permits in hand, many adults who are here without official immigration papers would get better jobs and could afford their own insurance, or get it through employers.

 

In Sacramento, the powerful Latino caucus sets its policy agenda at the start of April. How high the issue lands on that list will help determine its fate this year.

Melgar noted that the caucus made health coverage for the undocumented its top priority last year.

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Oakland Post: Week of April 8 – 14, 2026

The printed Weekly Edition of the Oakland Post: Week of April 8 – 14, 2026

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Oakland Post: Week of April 1 – 7, 2026

The printed Weekly Edition of the Oakland Post: Week of April 1 – 7, 2026

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Black Artists in America, Installation Three Wraps at the Dixon Gallery and Gardens

TRI-STATE DEFENDER — With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit. 

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By Candace A. Gray | Tri-State Defender

The tulips gleefully greet those who enter the gates at the Dixon Gallery & Gardens on an almost spring day. More than 650,000 bulbs of various hues are currently on display. And they are truly breathtaking.

Inside the gallery, and equally as breathtaking, is the “Black Artists in America, From the Bicentennial to September 11” exhibit, which runs through Sunday, March 29. This is the third installment of a three-part series that started years ago and illustrates part of the Black experience through visual arts in the 20th century.

“This story picks up where part two left off,’’ said Kevin Sharp, the Linda W. and S. Herbert Rhea director for the Dixon. “This era is when we really start to see the emergence of these important Black artists’ agency and freedom shine through. They start to say and express what they want to, and it was a really beautiful time.”

With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit.

“Though [Davis] was from LA, he actually lived in Memphis for a decade,” said Sharp. “He was a dean at Memphis College of Art, and later opened the first gallery in New York owned and operated by black curators.”

Another featured artist is former NFL player, Ernie Barnes. His work is distinctive. Where have you seen one of his most popular paintings, Sugar Shack? On the end scene and credits of the hit show “Good Times.” His piece Saturday Night, Durham, North Carolina, 1974 is in this collection.

Memphis native James Little’s “The War Baby: The Triptych” is among more than 50 works featured in “Black Artists in America, From the Bicentennial to September 11” at the Dixon Gallery & Gardens, the final installment of a three-part series highlighting the impact and evolution of Black artists through 2011.

Memphis native James Little’s “The War Baby: The Triptych” is among more than 50 works featured in “Black Artists in America, From the Bicentennial to September 11” at the Dixon Gallery & Gardens, the final installment of a three-part series highlighting the impact and evolution of Black artists through 2011.

The exhibit features other artists with Memphis ties, including abstract painter James Little, who was raised in a segregated Memphis and attended Memphis Academy of Art (before it was Memphis College of Art). He later moved to New York, became a teacher and an internationally acclaimed fixture in the art world in 2022 when he was named a Whitney Biennial selected artist at the Whitney Museum of American Art in New York.

Other artists like Romare Bearden, who had a Southern experience but lived up North, were featured in all three installments.

“During this period of time, he was a major figure,” said Sharp. “He wrote one of the first books on the history of African American art during a time when there were more Black academics, art teachers, more Black everything!”

Speaking of Black educators, Sharp said the head curator behind this tri-part series and Dixon’s partner in the arts is Earnestine Jenkins, Ph.D., an art history professor at the University of Memphis, who also earned a Master of Arts degree from Memphis State University (now UofM).  “We began working with Dr. Jenkins in 2018,” he said.

Sharp explained that it takes a team of curators, registrars, counterparts at other museums, and more, about three years to assemble an exhibit like this. It came together quite seamlessly, he added. Each room conjured up more jaw-dropping “wows” than the one before it. Each piece worked with the others to tell the story of Black people and their collective experience during this time period.

One of the last artists about whom Sharp shared information was Bettye Saar, who will turn 100 years old this year. She’s been working in Los Angeles for 80 years and is finally getting her due. Her medium is collages or assemblages, and an incredible work of hers is on display. She’s married to an artist and has two daughters, also artists.

The exhibit catalogue bears some of these artists’ stories, among other scholarly information.

The exhibit, presented by the Joe Orgill Family Fund for Exhibitions, is culturally and colorfully rich. It is a must see and admission to the Dixon is free.

Visit https://www.dixon.org/ to learn more.

Fun Facts: An original James Little design lives in the flooring of the basketball court at Tom Lee Park, and he makes and mixes his own paint colors.

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