Marc Selwyn has long been known as a dealer with historical depth, particularly in regard to Los Angeles art, so it is only fitting that the first solo show at his new Beverly Hills gallery should be a mini-survey of Allen Ruppersberg’s drawings, all made between the early 1970s and late ’80s. Although the artist may not be identified with Southern California as immediately as some of his colleagues—Ed Ruscha, John Baldessari, and Bas Jan Ader among them—Ruppersberg’s brand of Pop Conceptualism is no less emblematic of local practices in its insistent referential specificity. Whereas

For her first solo show in Los Angeles, “Rhythm Nation 2014,” Julia Dault installed ten paintings around one sculpture, Untitled 34, 2:45 PM–7:45 PM, April 15, 2014; 11:30 AM–12:45 PM, April 16, 2014. A decidedly material proposition, Untitled 34 nonetheless foregrounds the artist’s bodily engagement in its prolix title (which records the time involved in the work’s production over the course of two sessions). As with other pieces she has recently exhibited at the New Museum in New York and White Cube Bermondsey in London, among others, Dault here coerced large panes of Formica and Plexiglas

Founded in 1979 in West Hollywood by queer screenwriter John Dorr, EZTV was one of the first of its kind: a showcase and incubator dedicated solely to video makers. EZTV inhabited several locations before settling into a space on Santa Monica Boulevard in 1983, where it thrived as a nationally recognized center for independent video, featuring an on-site production facility, an art gallery, and a lively schedule packed with screenings, performances, and music. After Dorr (its major champion, front man, and director) died of HIV-related causes in 1993, EZTV gradually fell into obscurity, and its