Michael Ned Holte

Asco, Instant Mural, 1974, color photograph. Gronk and Patssi Valdez.

1 “Asco: Elite of the Obscure, a Retrospective, 1972–1987” (Los Angeles County Museum of Art; curated by C. Ondine Chavoya and Rita Gonzalez) Strangest art sighting of the past year? How about an image of Asco’s Patssi Valdez, glimpsed on a Bank of America ATM the same day Occupy Wall Street’s Los Angeles splinter mobilized in the downtown financial district? It turns out the corporate monster directed some trickle-down loot toward “Pacific Standard Time,” the Getty’s dizzyingly ambitious reconsideration of postwar and contemporary art in Southern California. Perhaps no show better summed up the initiative’s scholarly acumen than LACMA’s survey of this Chicano collaborative. Dense with photographs, performance documents, props, paintings, and ephemera, the show reveals a wildly energetic band of outsiders from East LA—initially Harry Gamboa Jr., Glugio Nicandro (aka Gronk),

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