Curators of recurring contemporary survey exhibitions face a perpetual dilemma: How does one fend off biennial ennui? This was clearly the impetus for Dan Cameron’s retooling of the Orange County Museum of Art’s former California Biennial, which had been a state-bound overview with an emphasis on emerging artists. Working in a crowded field that now includes the Hammer Museum’s “Made in L.A.” biennial, as well as the J. Paul Getty Museum’s “Pacific Standard Time” initiative, Cameron carved out a new mandate for ocma, mounting a show that argues for California as a place embedded along the Pacific Rim. The inaugural edition of the show, redefined and renamed the California-Pacific Triennial, encompassed an impressive number of countries lining the world’s largest ocean, with Japan, South Korea, China, Thailand, Vietnam, Indonesia, Australia, Chile, Peru, Colombia, Honduras, Guatemala,
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