Although it would be dull to try to homogenize the variety of aesthetics in “The Power of Suggestion: Narrative and Notation in Contemporary Drawing” into anything like a movement, it’s interesting to note that many of its most prepossessing artists live in LA, and that a funny, slant way of looking and an idiosyncratic investigation of mundane human activities and interests motivated much of the work. In her catalogue essay, curator Cornelia H. Butler described these artists as making “a kind of productive agitation in the visual field,” a formulation she used to expand “drawing” to encompass

German choreographer Pina Bausch’s elegant, often absurd images vacillate between the intimate and the spectacular. Crouched in a niche gouged out of a huge fake tree, a man takes a leisurely cigarette break. A woman empties some sort of powder from her panties. Men scale walls like flies to sultry music. Assembled dancers of both sexes do backbends amid a shower of falling leaves. Nur Du (Only you, 1996), Bausch’s site-specific dance-theater work created during a short LA residency, was intended in part to reflect her take on the city. The varied score featured tangos, fados, jazz, and doo-wop.