Situated somewhere within the overlapping boundaries of Conceptual, Minimalist, and post-Minimalist practice, Mel Bochner’s career has, in recent years, proven remarkably susceptible to critical and historical reevaluation, primarily through theme-driven exhibitions. In 2002, Bochner’s photographic work of the late 1960s was pulled into the spotlight after many years of neglect, and in 2006, his deployment of language provided the framework for a career-spanning survey. Taken together, these strands suggest a practice far more varied and fluid than has so far been accounted for. Now, with a

If Los Angeles were Paris, Jeffrey Vallance would surely be declared a national treasure, yet I’m convinced that any such public recognition of his peculiar genius would serve only to puncture it. That this exhibition was held at Margo Leavin Gallery reflects a recent uptick in this artist’s stock, no doubt a delayed reaction to his increasing influence abroad. Vallance’s favorable reception at last year’s Basel Art Fair was only the latest sign of the cultlike favor he has found in Europe. However, a truly triumphant return may have to wait a while longer. Though Vallance’s abiding fondness