The debut solo show of photographer and filmmaker Daniel Marlos presented, unintentionally, a case study of what is most provocative, even perplexing in much current Los Angeles art: the uses and reinterpretations of earlier art movements. Many younger LA artists, perhaps too many, are enthralled with late-’50s and ’60s styles, from architecture and interior design to Color Field painting and, in Marlos’s case, structuralist filmmaking. Of course, contemplation of and enthrallment with earlier artistic endeavors is nothing new, but much of this work is touted as though it were new rather than