“Apocalypse Now: The Theater of War” was an erudite and inventive, yet ultimately misguided, group exhibition. Cocurators Jens Hoffmann and artist duo Jennifer Allora and Guillermo Calzadilla gathered a selection of artworks, literary works, films, documents, and other cultural materials from a deep reservoir of sources—including Leonardo da Vinci, Mark Twain, John Heartfield, Pablo Picasso, Joseph Goebbels, Alain Resnais, Francis Ford Coppola, Richard Serra, Francisco de Goya, and Martha Rosler—in an “art attack” on war. In an exhibition designed around a series of bunkerlike structures and

Jill Miller’s “Collectors” generated waves of anxiety among Bay Area art patrons recently. The exhibition consisted of surveillance videos, photographs, and related sculptural objects gleaned from a six-month period during which the artist and a team of assistants trailed local patrons without their knowledge. In a National Enquirer–style tabloid that accompanied the show, Miller reveals that she trained with a licensed private investigator to learn the fine art of the stakeout. For the purposes of the exhibition, her use of the skill yielded bulletin boards of blurry photographs, articles (with