At the heart of Seb Patane’s tight, studied exhibition is its namesake, a hypnotic video titled Year of the Corn, 2011. The time-based composition has a trancelike, vaguely tribal sound component and sets into action the many static expressions visible in the artist’s drawings, paintings, collages, prints, and sculptures elsewhere in the room. Over the course of six minutes, the piece shifts through five distinct movements: a dark silhouette (a head? a landscape?) floating static against a pixelated red sky; two planes of latticework spinning laterally; a strangely ritualistic performance shot

The first things one sees upon entering the Hammer Museum are the ramp leading up to the atrium, and, for the past ten years, just beyond its sleek metal balustrade, the latest temporary site-specific lobby work commissioned by the museum. Since late October, visitors have been confronted by a mural of sorts—a sprawling collection of canvases, big and small, rendered in a variety of styles ranging from Academic Realism to Expressionism to Pop to post-painterly abstraction—by LA-based artist Mark Flores titled See This Through, 2009–10. Some of the work’s ninety-nine paintings are

West Coast artists Eve Fowler and Lucas Michael (the latter newly based in New York) founded Artist Curated Projects with the goal of fostering opportunities for a community of artists to “develop their curatorial ideas and show the work of their peers while promoting, engaging in dialogue, and creating connections among artists from multiple disciplines and at different stages in their careers,” according to the ACP website. While apartment exhibitions are hardly new and innumerable artists have historically acted as curators, ACP embraces both these approaches in a nomadic synthesis—one