Frank Romero, The Arrest of the Paleteros, 1996, courtesy of Cheech Marin, image courtesy of Cheech Marin.

DREAMLAND: A Frank Romero Retro

Museum of Latin American Art, Long Beach

Chicano art is at once a unified cultural expression and an ever-changing record of social and geographic situation. But regional inflections invariably emerge—and, certainly in…
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Andy Moses, The Deep, 2005, ©Andy Moses, photo by Alan Shaffer

Andy Moses

Pete and Susan Barrett Art Gallery

The origins of Color Field—one of the more intriguing forms of contemporary abstract painting—seem to lie in 19th-century Romanticism, particularly in a few radically reductive…
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EJ Hill, The Necessary Reconditioning of the Highly Deserving, 2017, installation view, ©EJ Hill, courtesy of the artist and Commonwealth and Council, photo by Ruben Diaz.

EJ Hill

Commonwealth & Council

Emblazoned in cursive neon light, the affirming phrase “we deserve to see ourselves elevated, as well as grounded” guides EJ Hill’s installation of objects and…
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Arne Quinze, Saint Helena, 2016, ©Arne Quinze, courtesy of DENK Gallery

ARNE QUINZE

DENK Gallery

Arne Quinze’s jubilantly comely show, “Jungle Cities,” propounds fundamental questions about the problematic relationship between culture and nature. These questions align with the artist’s generally…
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Danial Nord, Sleeper, 2017; ©Danial Nord, image by Will Tee Yang.

Masculine-Feminine 

UCI Beall

Given the current political climate, one in which President Donald Trump in February withdrew Federal guidelines allowing transgender students to use restrooms matching their chosen…
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Thompson & Craighead, Apocolypse, 2016, ©Thompson & Craighead, courtesy of the artists, Carroll/Fletcher Gallery, London, and Young Projects

Thomson & Craighead

Young Projects

Wake Me Up When It’s Over is a compelling and timely installation featuring selected works from 1998–2016 by the London-based duo Thomson & Craighead. Jon…
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Peter Zaleski, Boulders 2-Joshua Tree, 2016, courtesy the artist

Peter Zaleski

LA Artcore

Long dedicated to an elegant abstraction reliant on repeated forms and broken, almost prismatic, visual fields, all rendered in limpid colors, Peter Zaleski has recently…
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Matt Kleberg, Bats Out Of Hell, 2017, ©Matt Kleberg, courtesy of the artist and Johansson Projects.

Othello/Kleberg

Johansson Projects, Oakland

“Knock-Kneed and Bow-Legged,” on view at Oakland’s Johansson Projects, stakes out territory in a harsh but brilliant realm where contradiction is the order of the…
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Jim Neel, Cost, 2016 ©Jim Neel, photo by John Michael Kohler Arts Center, courtesy of Huntsville Museum of Art, Huntsville, AL.

Karen Graffeo/Jim Neel

Huntsville Museum of Art

“We are children of our landscape [which] dictates behavior and even thought,” writes Lawrence Durrell. It goes without saying, therefore, that a baneful “landscape”—defined in…
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Thomas Houseago, North Gallery Installation Shot, 2017 ©Thomas Houseago, courtesy of the artist and Gagosian Gallery, photo by Fredrik Nilsen.

Thomas Houseago

Gagosian Gallery

The first and most physically imposing work in Thomas Houseago’s exhibition, “The Ridge,” on view at Gagosian Gallery, is Open Wall (Beautiful Wall) (2016). According…
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Laura Forman, Untitled, 2016 ©Laura Forman, courtesy of the artist and Sloan Projects, Los Angeles;

Laura Forman

Sloan Projects

Laura Forman’s debut solo show at Sloan Projects—a rather small collection of six new artworks that differ clearly from each other—induces curiosity and offers a…
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Michael Dopp, Capriccio 16, 2016 ©Michael Dopp, courtesy of Roberts & Tilton Gallery, Culver City, CA.

Egan Frantz / Michael Dopp

Roberts & Tilton Gallery

Egan Frantz’s show, “The Oat Paintings,” provides a possible opening into a discussion of the nature of political art: how we distinguish it from among…
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Rachel Lachowicz, “House Under Construction”, 2017 © Rachel Lachowicz, courtesy of Shoshana Wayne Gallery, Los Angeles.

Rachel Lachowicz

Shoshana Wayne Gallery

For Rachel Lachowicz, lipstick—the actual infused-wax substance—has long functioned not simply as a gimmick, or brand, or even social signifier, but as a kind of…
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Orkideh Torabi, Help yourself!, 2016 ©Orkideh Torabi, courtesy of the artist and Western Exhibitions, Chicago, IL

Orkideh Torabi

Yes, Please & Thank You Gallery

In Orkideh Torabi’s caricatures of silly men, comedy and poignancy stealthily overcome the unsuspecting viewer. Midway through this exhibition, one is liable to titter aloud…
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Jill Mulleady, The Green Room, I (2017); The Green Room, II (2017), ©Jill Mulleady, courtesy of the artist and Freedman Fitzpatrick Gallery, Los Angeles.

Jill Mulleady

Freedman Fitzpatrick Gallery

Jill Mulleady’s new paintings offer an experience akin to tumbling down a rabbit hole into a mad and decadent party orchestrated by the Surrealists (is…
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Nathan Redwood, Untitled, 2016 ©Nathan Redwood, courtesy of Jaus Gallery, Los Angeles.
2016

Nathan Redwood

Jaus Gallery

Unexpected Portrait (2016) is a large-scale acrylic-on-canvas painting where a long tube-shaped orange line with dark edges glides across the work defining a cartoon-like head…
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