Neil Beloufa seems fascinated by the sympathetic vibrations between opposing forces, and his recent solo exhibition at François Ghebaly Gallery (formerly Chung King Project) demonstrated his precise ability to let dichotomies collide. Only twenty-five years old, the French artist has already produced a small but compelling body of work that includes sculpture, video, installation, and conceptual photography, all of which were on view in “Tectonic Plates or the Jurisdiction of Shapes.” As the title suggests, this show—with some pieces adapted or repurposed from earlier sculptures and installations

Los Angeles is constantly threatened by a variety of natural disasters: raging wildfires, giant mudslides, and—above all others—earthquakes. The arrival of “the big one” is generally regarded as a matter of when, not if, for Southern Californians. Despite that devastating inevitability, life goes on, more or less blissfully, and existential dread is largely sublimated or enacted in an endless procession of Hollywood spectacles. (Roland Emmerich’s 2012, in which the City of Angels slides swiftly into the Pacific Ocean, is only the latest.) Less dramatic, if no less frightening, is a list of recent

Adam Ross is an artist devoted to exploring the broad range of possibilities in abstract painting. Having come of age aesthetically amid the clashing art-historical narratives of the 1980s—which either tracked painting’s so-called endgame, generating a pronounced interest in the semiotics of abstraction, or, to the contrary, trumpeted the resurgence of representation as the rebirth of the medium—he has made a practice of reconciling tendencies.

In the ’90s, Ross produced not quite thoroughly abstract paintings characterized by heavily worked surfaces and saturated yet diffuse pockets of color.