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Daniel R. Small, Excavation II, 2016–, mixed media. Installation view. Photo: Brian Forrest.

Made in L.A.

Hammer Museum

Daniel R. Small, Excavation II, 2016–, mixed media. Installation view. Photo: Brian Forrest.

OVER THE FOUR YEARS of its existence, Made in L.A. has developed into a reliably exciting biennial—capitalizing on the city’s rapidly expanding coterie of local emerging and midcareer artists. But the biennial’s third edition, on view this past summer, broke with convention to highlight older artists with long-standing but relatively unknown practices rather than the bright young things who usually dominate such group shows. Curated by Aram Moshayedi and Hamza Walker, the show was titled “a, the, though, only”—the amorphous, somewhat confusing string of articles and conjunctions serving as poet Aram Saroyan’s contribution to the exhibition. Yet these textual shards bridged a constellation of diverse Angeleno practices installed in the museum’s expansive galleries, several of which could easily stand alone as exhibitions in their own right. Such points of depth enhanced

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