• John Baldessari, Double Bill (Part 2): . . . and Gerard, 2012, varnished ink-jet print on canvas with acrylic and oil paint, 90 x 53 1/2". From “Arctic Summer.”

    “Arctic Summer”

    Margo Leavin Gallery

    The melancholic air of “Arctic Summer” was given added poignancy when, two weeks after the opening, dealer Margo Leavin announced that this show would be her gallery’s last. As Leavin partner Wendy Brandow told the Los Angeles Times, “People are approaching art differently today. They’re not seeking out the thoughtful, complete statement that artists make when they create gallery exhibitions. The exhibitions have been such an important part of what we do, and they are no longer valued as much by the public.” Though art viewing hasn’t declined per se, the proliferation of fairs and international

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  • Candice Lin, Corn Hill (White), 2012, platinum body-grade silicone, bell jar, 8 x 5 1/2 x 5 1/2".

    Candice Lin

    Ghebaly Gallery

    Candice Lin’s latest solo show awkwardly fractured the slick, guided exploration of the typical history exhibit and awkwardly reassembled it across François Ghebaly’s two-tiered space. The sixteen sculptures and videos that comprised “It Makes the Patient See Pictures” excreted tar, silicone, even dead fish. There were no talking heads or lengthy wall labels to provide context; instead, an informational stop-action animation was projected from a pig’s asshole. Bacium Sub Cauda (Kiss Under the Tail) (all works 2012 unless otherwise noted) presents an allegory about the mass killing of the domestic

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  • View of “Aaron Garber-Maikovska,” 2012.

    Aaron Garber-Maikovska

    Greene Exhibitions | 2654 La Cienega Avenue

    If there is one common aim that runs through the entire course of avant-garde art, it is to grind up and reinvent words, whether spoken (as in the Futurists’ parole in libertà) or written (as in the rebuslike cryptography of the Lettrist International). Implicit in these various projects is a critique of our given languages as either inadequate, unable to account for the full scope of contemporary experience, or, worse, coercive and actively constraining that experience. Some of this animus finds its way into the work of the LA-based artist Aaron Garber-Maikovska as well, but here, in a show

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