Twenty-some years after his death at the age of fifty-six, Robert Overby is finally getting his due—both in Los Angeles, where he spent most of his career, and in cities considerably farther afield. (A show at the Hammer Museum in 2000 was a decisive moment in this trajectory, though its effects were not immediately evident.) The most comprehensive survey to date, “Robert Overby, Works: 1969–1987,” organized by Alessandro Rabottini in 2014 for the Centre d’Art Contemporain, Geneva, contributed significantly to the mounting sense of excitement around the artist’s work. The openness and range

Visitors to Greene Exhibitions will likely brave that most persistent of LA clichés: terrible traffic. So those who came for Marcus Herse’s solo show were primed for a suite of six long videos, projected larger-than-life on each of the gallery’s three walls in loops of two, of the artist piloting his car through gridlock. The works were shot using a camera joined to an electric motor mounted to the vehicle’s inner roof, which allowed the lens to swivel from left to right in small, even increments. Herse posits driving as “durational” performance, like Situationist wanderings filmed by an autonomous

Bad Reputation is a small, artist-run project space located in an anonymous prewar office building in Los Angeles’s Westlake neighborhood. Run by artist Andreas Waris, Bad Reputation takes its name from the title of Penny Arcade’s book on performance art, allegedly written in a seventh-floor office within the same building (where Arcade’s publisher Semiotext[e] also rented its offices and provided studios to writers). This past January, the gallery was supplanted by the Cologne Room, another off-space run by Waris, who conceived of the gallery-within-a-gallery as a tribute to 1980s Cologne—this