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View of “Jack Goldstein x 10,000,” 2012. From left: Untitled, 1989; Untitled, 1988; and Underwater Sea Fantasy, 1983/2003. Photo: Chris Bliss.

Jack Goldstein

View of “Jack Goldstein x 10,000,” 2012. From left: Untitled, 1989; Untitled, 1988; and Underwater Sea Fantasy, 1983/2003. Photo: Chris Bliss.

WHEN IT WAS FIRST ANNOUNCED that curator Philipp Kaiser would be mounting an assessment of Jack Goldstein’s career at the Museum of Contemporary Art, Los Angeles, there was an instant buzz about it. Goldstein has always been a charged presence, and the show was seen as complementing the upcoming celebration of LA art under the banner of “Pacific Standard Time,” rounding out the story of the growing interdependence of New York and LA as incubators of significant new art in the 1970s and ’80s. A small scandal erupted when LA MoCA’s management canceled the exhibition in response to the fiscal meltdown there, and when the Orange County Museum of Art decided to stage it, interest surged. I was a little apprehensive of all the fanfare, so on the opening night of “Jack Goldstein x 10,000,” I was relieved to hear a local curator say to me, “It’s a tight show.” And so it was: a modest and

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