Issue 35 February 2024

Issue 34 November 2023

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Issue 31 February 2023

Issue 30 November 2022

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Issue 28 May 2022

Issue 27 February 2022

Issue 26 November 2021

Issue 25 August 2021

Issue 24 May 2021

Issue 23 February 2021

Issue 22 November 2020

Issue 21 August 2020

Issue 20 May 2020

Issue 19 February 2020

Letter from the Editor –Lindsay Preston Zappas
Parasites in Love –Travis Diehl
To Crush Absolute On Patrick Staff and
Destroying the Institution
–Jonathan Griffin
Victoria Fu:
Camera Obscured
–Cat Kron
Resurgence of Resistance How Pattern & Decoration's Popularity
Can Help Reshape the Canon
–Catherine Wagley
Trace, Place, Politics Julie Mehretu's Coded Abstractions
–Jessica Simmons
Exquisite L.A.: Featuring: Friedrich Kunath,
Tristan Unrau, and Nevine Mahmoud
–Claressinka Anderson & Joe Pugliese
Reviews April Street
at Vielmetter Los Angeles
–Aaron Horst

Chiraag Bhakta
at Human Resources
–Julie Weitz

Don’t Think: Tom, Joe
and Rick Potts

–Matt Stromberg

Sarah McMenimen
at Garden
–Michael Wright

The Medea Insurrection
at the Wende Museum
–Jennifer Remenchik

(L.A. in N.Y.)
Mike Kelley
at Hauser & Wirth
–Angella d’Avignon
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Issue 18 November 2019

Letter from the Editor –Lindsay Preston Zappas
The Briar and the Tar Nayland Blake at the ICA LA
and Matthew Marks Gallery
–Travis Diehl
Putting Aesthetics
to Hope
Tracking Photography’s Role
in Feminist Communities
– Catherine Wagley
Instagram STARtists
and Bad Painting
– Anna Elise Johnson
Interview with Jamillah James – Lindsay Preston Zappas
Working Artists Featuring Catherine Fairbanks,
Paul Pescador, and Rachel Mason
Text: Lindsay Preston Zappas
Photos: Jeff McLane
Reviews Children of the Sun
– Jessica Simmons

Derek Paul Jack Boyle
–Aaron Horst

Karl Holmqvist
at House of Gaga, Los Angeles
–Lee Purvey

Katja Seib
at Château Shatto
–Ashton Cooper

Jeanette Mundt
at Overduin & Co.
–Matt Stromberg
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Issue 17 August 2019

Letter From the Editor Lindsay Preston Zappas
Green Chip David Hammons
at Hauser & Wirth
–Travis Diehl
Whatever Gets You
Through the Night
The Artists of Dilexi
and Wartime Trauma
–Jonathan Griffin
Generous Collectors How the Grinsteins
Supported Artists
–Catherine Wagley
Interview with
Donna Huanca
–Lindsy Preston Zappas
Working Artist Featuring Ragen Moss, Justen LeRoy,
and Bari Ziperstein
Text: Lindsay Preston Zappas
Photos: Jeff McLane
Reviews Sarah Lucas
at the Hammer Museum
–Yxta Maya Murray

George Herms and Terence Koh
at Morán Morán
–Matt Stromberg

Hannah Hur
at Bel Ami
–Michael Wright

Sebastian Hernandez
–Julie Weitz

(L.A. in N.Y.)
Alex Israel
at Greene Naftali
–Rosa Tyhurst

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Issue 16 May 2019

Trulee Hall's Untamed Magic Catherine Wagley
Ingredients for a Braver Art Scene Ceci Moss
I Shit on Your Graves Travis Diehl
Interview with Ruby Neri Jonathan Griffin
Carolee Schneemann and the Art of Saying Yes! Chelsea Beck
Exquisite L.A. Claressinka Anderson
Joe Pugliese
Reviews Ry Rocklen
at Honor Fraser
–Cat Kron

Rob Thom
at M+B
–Lindsay Preston Zappas

Soul of a Nation: Art in the Age
of Black Power, 1963-1983
at The Broad
–Matt Stromberg

Anna Sew Hoy & Diedrick Brackens
at Various Small Fires
–Aaron Horst

Julia Haft-Candell & Suzan Frecon
at Parrasch Heijnen
–Jessica Simmons

(L.A. in N.Y.)
Shahryar Nashat
at Swiss Institute
–Christie Hayden
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Issue 15 February 2019

Letter From the Editor Lindsay Preston Zappas
Letter to the Editor
Men on Women
Geena Brown
Eyes Without a Voice
Julian Rosefeldt's Manifesto
Christina Catherine Martinez
Seven Minute Dream Machine
Jordan Wolfson's (Female figure)
Travis Diehl
Laughing in Private
Vanessa Place's Rape Jokes
Catherine Wagley
Interview with
Rosha Yaghmai
Laura Brown
Exquisite L.A.
Featuring: Patrick Martinez,
Ramiro Gomez, and John Valadez
Claressinka Anderson
Joe Pugliese
Reviews Outliers and American
Vanguard Art at LACMA
–Jonathan Griffin

Sperm Cult
–Matt Stromberg

Kahlil Joseph
–Jessica Simmons

Ingrid Luche
at Ghebaly Gallery
–Lindsay Preston Zappas

Matt Paweski
at Park View / Paul Soto
–John Zane Zappas

Trenton Doyle Hancock
at Shulamit Nazarian
–Colony Little

(L.A. in N.Y.)
Catherine Opie
at Lehmann Maupin
–Angella d'Avignon
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Issue 14 November 2018

Letter From the Editor Lindsay Preston Zappas
Celeste Dupuy-Spencer and Figurative Religion Catherine Wagley
Lynch in Traffic Travis Diehl
The Remixed Symbology of Nina Chanel Abney Lindsay Preston Zappas
Interview with Kulapat Yantrasast Christie Hayden
Exquisite L.A.
Featuring: Sandra de la Loza, Gloria Galvez, and Steve Wong
Claressinka Anderson
Photos: Joe Pugliese
Reviews Raúl de Nieves
at Freedman Fitzpatrick
-Aaron Horst

Gertrud Parker
at Parker Gallery
-Ashton Cooper

Robert Yarber
at Nicodim Gallery
-Jonathan Griffin

Nikita Gale
at Commonwealth & Council
-Simone Krug

Lari Pittman
at Regen Projects
-Matt Stromberg

(L.A. in N.Y.)
Eckhaus Latta
at the Whitney Museum
of American Art
-Angella d'Avignon
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Issue 13 August 2018

Letter From the Editor Lindsay Preston Zappas
Letter to the Editor Julie Weitz with Angella d'Avignon
Don't Make
Everything Boring
Catherine Wagley
The Collaborative Art
World of Norm Laich
Matt Stromberg
Oddly Satisfying Art Travis Diehl
Made in L.A. 2018 Reviews Claire de Dobay Rifelj
Jennifer Remenchik
Aaron Horst
Exquisite L.A.
Featuring: Anna Sew Hoy, Guadalupe Rosales, and Shizu Saldamando
Claressinka Anderson
Photos: Joe Pugliese
Reviews It's Snowing in LA
at AA|LA
–Matthew Lax

Fiona Conner
at the MAK Center
–Thomas Duncan

Show 2
at The Gallery @ Michael's
–Simone Krug

Deborah Roberts
at Luis De Jesus Los Angeles
–Ikechukwu Casmir Onyewuenyi

Mimi Lauter
at Blum & Poe
–Jessica Simmons

(L.A. in N.Y.)
Math Bass
at Mary Boone
–Ashton Cooper

(L.A. in N.Y.)
Condo New York
–Laura Brown
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Issue 12 May 2018

Poetic Energies and
Radical Celebrations:
Senga Nengudi and Maren Hassinger
Simone Krug
Interior States of the Art Travis Diehl
Perennial Bloom:
Florals in Feminism
and Across L.A.
Angella d'Avignon
The Mess We're In Catherine Wagley
Interview with Christina Quarles Ashton Cooper
Object Project
Featuring Suné Woods, Michelle Dizon,
and Yong Soon Min
Lindsay Preston Zappas
Photos: Jeff McLane
Reviews Meleko Mokgosi
at The Fowler Museum at UCLA
-Jessica Simmons

Chris Kraus
at Chateau Shatto
- Aaron Horst

Ben Sanders
at Ochi Projects
- Matt Stromberg

iris yirei hsu
at the Women's Center
for Creative Work
- Hana Cohn

Harald Szeemann
at the Getty Research Institute
- Olivian Cha

Ali Prosch
at Bed and Breakfast
- Jennifer Remenchik

Reena Spaulings
at Matthew Marks
- Thomas Duncan
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Issue 11 February 2018

Letter from the Editor Lindsay Preston Zappas
Museum as Selfie Station Matt Stromberg
Accessible as Humanly as Possible Catherine Wagley
On Laura Owens on Laura Owens Travis Diehl
Interview with Puppies Puppies Jonathan Griffin
Object Project Lindsay Preston Zappas, Jeff McLane
Reviews Dulce Dientes
at Rainbow in Spanish
- Aaron Horst

Adrián Villas Rojas
at The Geffen Contemporary at MOCA
- Lindsay Preston Zappas

Nevine Mahmoud
at M+B
- Angella D'Avignon

Radical Women: Latin American Art, 1960- 1985
at the Hammer Museum
- Thomas Duncan

Hannah Greely and William T. Wiley
at Parker Gallery
- Keith J. Varadi

David Hockney
at The Metropolitan Museum of Art (L.A. in N.Y.)
- Ashton Cooper

Edgar Arceneaux
at Yerba Buena Center for the Arts (L.A. in S.F.)
- Hana Cohn
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Issue 10 November 2017

Letter from the Editor Lindsay Preston Zappas
Barely Living with Art:
The Labor of Domestic
Spaces in Los Angeles
Eli Diner
She Wanted Adventure:
Dwan, Butler, Mizuno, Copley
Catherine Wagley
The Languages of
All-Women Exhibitions
Lindsay Preston Zappas
L.A. Povera Travis Diehl
On Eclipses:
When Language
and Photography Fail
Jessica Simmons
Interview with
Hamza Walker
Julie Wietz
Object Project
Featuring: Rosha Yaghmai,
Dianna Molzan, and Patrick Jackson
Lindsay Preston Zappas
Photos by Jeff McLane
Pacific Standard Time: LA/LA
Regen Projects
Ibid Gallery
One National Gay & Lesbian Archives and MOCA PDC
The Mistake Room
Luis De Jesus Gallery
the University Art Gallery at CSULB
the Autry Museum
Reviews Cheyenne Julien
at Smart Objects

Paul Mpagi Sepuya
at team bungalow

Ravi Jackson
at Richard Telles

Tactility of Line
at Elevator Mondays

Trigger: Gender as a Tool as a Weapon
at the New Museum
(L.A. in N.Y.)
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Issue 9 August 2017

Letter from the Editor Lindsay Preston Zappas
Women on the Plinth Catherine Wagley
Us & Them, Now & Then:
Reconstituting Group Material
Travis Diehl
The Offerings of EJ Hill
Ikechukwu Casmir Onyewuenyi
Interview with Jenni Sorkin Carmen Winant
Object Project
Featuring: Rebecca Morris,
Linda Stark, Alex Olson
Lindsay Preston Zappas
Photos by Jeff McClane
Reviews Mark Bradford
at the Venice Biennale

Broken Language
at Shulamit Nazarian

Artists of Color
at the Underground Museum

Anthony Lepore & Michael Henry Hayden
at Del Vaz Projects


Analia Saban at
Sprueth Magers
Letter to the Editor Lady Parts, Lady Arts
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Issue 8 May 2017

Letter from the Editor Lindsay Preston Zappas
Kanye Westworld Travis Diehl
@richardhawkins01 Thomas Duncan
Support Structures:
Alice Könitz and LAMOA
Catherine Wagley
Interview with
Penny Slinger
Eliza Swann
Exquisite L.A.
taisha paggett
Ashley Hunt
Young Chung
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Reviews Alessandro Pessoli
at Marc Foxx

Jennie Jieun Lee
at The Pit

Trisha Baga
at 356 Mission

Jimmie Durham
at The Hammer

Parallel City
at Ms. Barbers

Jason Rhodes
at Hauser & Wirth
Letter to the Editor
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Issue 7 February 2017

Letter from the Editor Lindsay Preston Zappas
Catherine Wagley
Put on a Happy Face:
On Dynasty Handbag
Travis Diehl
The Limits of Animality:
Simone Forti at ISCP
(L.A. in N.Y.)
Ikechukwu Casmir Onyewuenyi
More Wound Than Ruin:
Evaluating the
"Human Condition"
Jessica Simmons
Exquisite L.A.
Brenna Youngblood
Todd Gray
Rafa Esparza
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Reviews Creature
at The Broad

Sam Pulitzer & Peter Wachtler
at House of Gaga // Reena Spaulings Fine Art

Karl Haendel
at Susanne Vielmetter

Wolfgang Tillmans
at Regen Projects

at Chateau Shatto

The Rat Bastard Protective Association
at the Landing
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Issue 6 November 2016

Letter from the Editor Lindsay Preston Zappas
Kenneth Tam
's Basement
Travis Diehl
The Female
Cool School
Catherine Wagley
The Rise
of the L.A.
Art Witch
Amanda Yates Garcia
Interview with
Mernet Larsen
Julie Weitz
Agnes Martin
Jessica Simmons
Exquisite L.A.
Analia Saban
Ry Rocklen
Sarah Cain
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Made in L.A. 2016
at The Hammer Museum

Doug Aitken
at The Geffen Contemporary at MOCA

at Tif Sigfrids

Jean-Pascal Flavian and Mika Tajima
at Kayne Griffin Corcoran

Mark A. Rodruigez
at Park View

The Weeping Line
Organized by Alter Space
at Four Six One Nine
(S.F. in L.A.)
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Issue 5 August 2016

Letter form the Editor Lindsay Preston Zappas
at The Underground Museum
Catherine Wagley
The Art of Birth Carmen Winant
Escape from Bunker Hill
John Knight
Travis Diehl
Ed Boreal Speaks Benjamin Lord
Art Advice (from Men) Sarah Weber
Routine Pleasures
at the MAK Center
Jonathan Griffin
Exquisite L.A.
Fay Ray
John Baldessari
Claire Kennedy
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Reviews Revolution in the Making
at Hauser Wirth & Schimmel

Carl Cheng
at Cherry and Martin

Joan Snyder
at Parrasch Heijnen Gallery

Elanor Antin
at Diane Rosenstein

Performing the Grid
at Ben Maltz Gallery
at Otis College of Art & Design

Laura Owens
at The Wattis Institute
(L.A. in S.F.)
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Issue 4 May 2016

Letter from the Editor Lindsay Preston Zappas
Moon, laub, and Love Catherine Wagley
Walk Artisanal Jonathan Griffin
Marva Marrow's
Inside the L.A. Artist
Anthony Pearson
Mystery Science Thater:
Diana Thater
Aaron Horst
Informal Feminisms Federica Bueti and Jan Verwoert
Marva Marrow Photographs
Lita Albuquerque
Interiors and Interiority:
Njideka Akunyili Crosby
Char Jansen
Reviews L.A. Art Fairs

Material Art Fair, Mexico City

Rain Room

Evan Holloway
at David Kordansky Gallery

Histories of a Vanishing Present: A Prologue
at The Mistake Room

Carter Mull
at fused space
(L.A. in S.F.)

Awol Erizku
at FLAG Art Foundation
(L.A. in N.Y.)
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Issue 3 February 2016

Letter from the Editor Lindsay Preston Zappas
Le Louvre, Las Vegas Evan Moffitt
iPhones, Flesh,
and the Word:
at Arturo Bandini
Lindsay Preston Zappas
Women Talking About Barney Catherine Wagley
Lingua Ignota:
Faith Wilding
at The Armory Center
for the Arts
Benjamin Lord
A Conversation
with Amalia Ulman
Char Jansen
How We Practice Carmen Winant
Share Your Piece
of the Puzzle
Federica Bueti
Amanda Ross-Ho Photographs
Erik Frydenborg
Reviews Honeydew
at Michael Thibault

Fred Tomaselli
at California State University, Fullerton

Trisha Donnelly
at Matthew Marks Gallery

Bradford Kessler
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Issue 2 November 2015

Letter from the Editor Lindsay Preston Zappas
Hot Tears Carmen Winant
Slow View:
Molly Larkey
Anna Breininger and Kate Whitlock
Americanicity's Paintings:
Orion Martin
at Favorite Goods
Tracy Jeanne Rosenthal
Layers of Leimert Park Catherine Wagley
Junkspace Junk Food:
Parker Ito
at Kaldi, Smart Objects,
White Cube, and
Château Shatto
Evan Moffitt
Melrose Hustle Keith Vaughn
Max Maslansky Photographs
Monica Majoli
at the Tom of Finland Foundation
White Lee, Black Lee:
William Pope.L’s "Reenactor"
Travis Diehl
Dora Budor Interview Char Jensen
Reviews Mary Ried Kelley
at The Hammer Museum

Tongues Untied
at MOCA Pacific Design Center

No Joke
at Tanya Leighton
(L.A. in Berlin)
Snap Reviews Martin Basher at Anat Ebgi
Body Parts I-V at ASHES ASHES
Eve Fowler at Mier Gallery
Matt Siegle at Park View
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Issue 1 August 2015

Letter from the Editor Lindsay Preston Zappas
Metaphysical L.A.
Travis Diehl
Art for Art’s Sake:
L.A. in the 1990s
Anthony Pearson
A Dialogue in Two
Synchronous Atmospheres
Erik Morse
with Alexandra Grant
at François Ghebaly
Jonathan Griffin
#studio #visit
with #devin #kenny
Mateo Tannatt
Jibade-Khalil Huffman
Slow View:
Discussion on One Work
Anna Breininger
with Julian Rogers
Reviews Pierre Huyghe

Mernet Larsen
at Various Small Fires

John Currin
at Gagosian, Beverly Hills

Pat O'Niell
at Cherry and Martin

A New Rhythm
at Park View

Unwatchable Scenes and
Other Unreliable Images...
at Public Fiction

Charles Gaines
at The Hammer Museum

Henry Taylor
at Blum & Poe/ Untitled
(L.A. in N.Y.)
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1301 PE
Anat Ebgi (La Cienega)
Anat Ebgi (Wilshire)
Arcana Books
Artbook @ Hauser & Wirth
Babst Gallery
Baert Gallery
Bel Ami
Canary Test
Carlye Packer
Charlie James Gallery
Château Shatto
Chris Sharp Gallery
Cirrus Gallery
Clay ca
Commonwealth & Council
Craft Contemporary
D2 Art (Inglewood)
D2 Art (Westwood)
David Kordansky Gallery
David Zwirner
Diane Rosenstein
François Ghebaly
Gana Art Los Angeles
George Billis Gallery
Giovanni's Room
Hamzianpour & Kia
Hannah Hoffman Gallery
Harper's Gallery
Hashimoto Contemporary
Heavy Manners Library
Helen J Gallery
Human Resources
Hunter Shaw Fine Art
in lieu
LaPau Gallery
Lisson Gallery
Lowell Ryan Projects
Luis De Jesus Los Angeles
MAK Center for Art and Architecture
Make Room Los Angeles
Matter Studio Gallery
Matthew Brown Los Angeles
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Morán Morán
Moskowitz Bayse
Nazarian / Curcio
Night Gallery
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NOON Projects
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One Trick Pony
Paradise Framing
Park View / Paul Soto
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Regen Projects
Reparations Club
r d f a
REDCAT (Roy and Edna Disney CalArts Theater)
Roberts Projects
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Sean Kelly
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Shoshana Wayne Gallery
Smart Objects
Steve Turner
Stroll Garden
Tanya Bonakdar Gallery
The Box
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The Hole
The Landing
The Poetic Research Bureau
The Wende Museum
Thinkspace Projects
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Tiger Strikes Astroid
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Track 16
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USC Fisher Museum of Art
UTA Artist Space
Various Small Fires
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Libraries/ Collections
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University of California Irvine, Langston IMCA (Irvine, CA)
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Absurd, Mischievous, and Hoaxy: Horvitz, Cadere, and Artist Estates

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André Cadere: a presentation of nine works 1974–1977 (installation view) (2023). Painted round bars of wood placed throughout the garden of David Horvitz (made in collaboration with Terremoto), February 2023. Image courtesy of David Horvitz. Photo: Rio Asch Phoenix.

On an overcast afternoon in June, I visited the garden of artist David Horvitz in the Arlington Heights neighborhood of Los Angeles. While we talked, Horvitz took advantage of the cool weather by weeding, watering plants, feeding crows, and slinging mud at the garden walls to attract swallows. Steps away from Horvitz’s studio, the land was granted to him by the owner in a handshake deal after a house on the property burned down.1 By the end of 2020, Horvitz and the landscape design firm Terremoto had begun collaborating on the repair and rejuvenation of the 5,000-square-foot lot. Endeavoring toward positive ecological change, Terremoto and Horvitz created a lush garden of native plants.2 Horvitz views the space as an artwork, citing Derek Jarman’s (1942–94) garden at Prospect Cottage, from which he collected seeds to plant in his own garden, as a project he admires. His first artistic gesture was filling the lot with rubble he gathered from LACMA’s recent demolition of William Pereira’s “float[ing]” campus to make way for Peter Zumthor’s publicly loathed design.3 Built from both domestic and institutional ruin, Horvitz’s garden has been described as an “antithesis” to the “symbol of waste and excess” of LACMA’s demolition.4 Shells from oysters, mussels, scallops, and abalone are arranged in piles across the dirt floor, a motley crew of restaurant waste, beach finds, and leftovers from dinner parties with friends. In Horvitz’s garden, nearly everything has a provenance. The landscape is layered with rich histories.

Since its creation, the garden has served as a venue for Horvitz’s artist-organized shows. Horvitz’s impulse to organize in unlikely spaces has been present since his mid- to late-20s, when he started undertaking experimental exhibitions alongside friends and collaborators in what he calls “non-spaces”; over the years, he has held exhibitions in a post office mailbox, at a photo lab, and as an edition of 30 bound books. A busy father of two, Horvitz now launches his garden projects spontaneously, often giving the public a day’s notice. In February, he invited 33 artists to create text-based instructional works, scores, moments, and situations for a garden exhibition co-sponsored by the Swiss Institute and Triple Canopy. Visitors were handed a booklet featuring instructions for each work, allowing them to enact those of their choosing.

When I walked into the space, I noticed a popular text-based work from the 1960s painted on the garden’s north-facing wall, which I assumed was left over from the group exhibition. “I have to paint over that,” Horvitz noted. The artist’s studio had permitted him to reproduce the work in the booklet, but painting it on the wall, unbeknownst to Horvitz, was not permissible. Through our conversation, I learned that recreating the work of conceptualists is, for Horvitz, not an act of copying—rather, it is a recurring practice that serves as a conduit for exploring larger issues of authorship.

Running simultaneously with the group show was an exhibition of artist André Cadere (1934–78). On February 15, 2023, one day before the opening, Horvitz printed 100 flyers for the Cadere show, posting a photograph of one on Instagram. The invitations were bare, advertising that nine works made by the late conceptual artist between 1974 and 1977 would be presented in participation with Frieze Los Angeles.5 Cryptically, the back of the invitation, also posted to Instagram, stated: “INVITATION TO POINT OUT WHAT IS EXHIBITED WITHOUT INVITATION.” Horvitz admitted to me that the fair had not sanctioned the exhibition as an official satellite event and that, “in the spirit of Cadere,” this detail was fabricated. “He would impose himself always, and I was imposing the show onto Frieze like a parasite,” he said—an interesting choice of words given the fact that art critic Bruce Hainley once referred to Cadere’s practice as a “purposeful parasitism.”6 And like the Frieze detail, the artworks in the show were fabricated by Horvitz. Following the strict, rigorous system for color sequencing laid out in Cadere’s catalogue raisonné, Horvitz and his assistant built nine Barres de bois rond (“round bars of wood”). Cadere constructed two hundred such bars between 1970 and his premature death in 1978. Horvitz placed his replica bars throughout his garden, along with a binder filled with photocopies of pages from Cadere’s catalogue raisonné, including images of the original works and their building instructions.

At the exhibition’s opening, visitors expressed their delight on Instagram, tagging @andre_cadere, an account reportedly run by Hervé Bize, whose eponymous gallery represents Cadere’s estate. Upon seeing the unlicensed use of Cadere’s work, Bize struck back with an all-caps text post on Instagram—a rather unexpected forum for an estate to get involved in a potential legal dispute:

To answer definitely to anyone who would lend the slightest consideration to what has been announced as a so-called garden exhibition of André Cadere in Los Angeles (and for Frieze LA!): Any responsible and professional person should realize that all this is only a kind of trickery that has no interest and comes from an artist who thinks he can do anything to make himself a bit interesting.7

In subsequent posts, Bize included extensive corrections to an ArtNews article written by Alex Greenberger about Horvitz’s show. One post’s caption expressed outrage over Greenberger’s reference to the show as an “exhibition,” calling it “only a masquerade”—accompanied by the hashtag “fakeshow.”8 The title of Greenberger’s essay was later revised to appease Bize. Horvitz often responded by “liking” Bize’s posts, proving himself to be an institutional agitator, much like Cadere.

Cadere was a Romanian émigré who developed an anti-establishment reputation. He had a habit of antagonizing artists, such as Daniel Buren, whose opening he crashed in Paris in 1973. Cadere brought one of his seven-foot-long wooden bars to Buren’s exhibition, and after discovering that the gallery staff had hidden it away in a broom closet, he mailed out exhibition announcements, inviting people to view the work in the closet.9 According to art historian Lily Woodruff, members of the arts community were often displeased with Cadere’s “guerrilla tactics.”10 Cadere referred to himself as a “squatter” and often positioned his wooden bars outside of “legible art contexts,”11 such as cafés, pubs, and trains. Friend of Cadere and art historian Sanda Agalides described him as “absurd, mischievous and hoaxy.”12 Hainley wrote that Cadere aimed to “fuck” with authority through “minor forms of terrorism.”13 Even when galleries and museums legitimized him, Cadere found ways to disrupt the order and decorum demanded by these spaces. At Galerie MTL in Brussels, for example, seven of the artist’s wooden bars were protected by traditional gallery displays, while the eighth was available for visitors to handle.14

André Cadere walking with artwork, Barre de bois rond, in front of Blimpie restaurant, New York (1976). Image courtesy of the Getty Research Institute, Los Angeles. Photo: Shunk-Kender/© J. Paul Getty Trust.

Since Cadere’s death from cancer in 1978, Galerie Hervé Bize, along with Cadere’s estate (rumored to be overseen by Cadere’s widow), has taken responsibility for upholding the integrity of the artist by making decisions that preserve the moral and economic rights guaranteed to artists under French law. When I asked Bize whether Cadere prepared any estate planning documents prior to his death, he noted that Cadere died relatively young at 44 and thus “didn’t have much time to think about his estate or his posterity.”15 Without such documents in place, it can be difficult to determine whether an estate is operating in the artist’s best interest. An estate is also considered the authority on the artist’s history and the sole authenticator of the artist’s production. Cadere’s history of challenging institutional control appears incompatible with legality, canonization, and institutionalization. In our conversation, Horvitz criticized Bize for “attempting to commercialize” Cadere’s work, while Bize noted that Cadere regularly exhibited and sold his work during his short career.16 When I asked Horvitz if an artist like Cadere could be managed by an estate, to my surprise, he said, “Yes. If it’s done the right way.”


From the start of his artistic practice, which reflects on legacy, ownership, intellectual property, and the creation of art history, Horvitz, like Cadere, has frequently ruffled the feathers of authority. The story begins in 2007 when Horvitz made a five-second, black-and-white video that was uploaded onto YouTube just two short years after the platform’s inception. Shot on film, the video shows a young man on the beach, facing away from the camera, riding his bike toward the shore. The clip cuts off right as he enters the Pacific Ocean.17 Next, Horvitz updated the Wikipedia page for the Dutch artist Bas Jan Ader (1942–75), claiming that the video was made by Ader and recently discovered at the University of California, Irvine, where the artist taught in the 1970s. The YouTube description noted that Ader probably deemed the video unusable because the film ran out.18 Horvitz’s decision to create the work was a reaction to the art world’s romanticization of Ader’s death (the artist disappeared after embarking on what would have been the smallest sailboat to ever journey across the Atlantic).19 According to Horvitz, he was not trying to “make a fake work that people thought was real”; rather, he was experimenting with the creation of folklore and exploring public participation in the development of an artist’s story.

Before his untimely death, it is assumed that Ader, like Cadere, had not prepared legal documents outlining his wishes for the afterlife of his work and image. Ader’s widow, Mary Sue Andersen-Ader, became the executor of his estate by default. Andersen-Ader joined forces with several individuals close to and knowledgeable about Ader. Ger van Elk, a Dutch artist and friend of Ader; Erik Ader, the artist’s younger brother; Adriaan van Ravesteijn, then co-owner of the Amsterdam-based gallery Art & Project; and Martijn Sanders, a civic leader and well-known collector in Amsterdam, thus became representatives of Ader’s estate.20 Andersen-Ader was enthusiastic about the care these men put into cataloging and preserving his legacy. The estate would remain at Art & Project, where Ader had shown since 1972, and would be represented by gallery owner and collector Paul Andriesse, then an art history student. Together, they all wrote authoritative texts on Ader’s life and work and agreed not to recreate works or publish posthumous editions.21 In 1993, after only five years, Andriesse was removed from his responsibilities by Andersen-Ader, who would entrust the representation of the artist’s work to gallerist Patrick Painter.22

In 2007, on the heels of his Ader Wikipedia page, and at a nascent stage of his career, Horvitz received an email from Patrick Painter, Inc., an art gallery in Los Angeles founded in 1997, asking for a studio visit. Rather than arrange a time to visit Horvitz’s studio, Painter asked for a meeting at the gallery, which raised suspicion for Horvitz. He believes that the gallery tried to bait him with a career opportunity to confront him about the falsely attributed video, saying “my friends thought I was crazy for passing up on a blue-chip gallery.” After protesting the video, the gallery had it temporarily removed from YouTube.23 Ironically enough, by this time, Painter’s gallery and publishing house had already been criticized for creating posthumous artworks by Ader—including projects Ader had abandoned during his lifetime—and thus violating the estate’s prior ethics and standards.24 In 2004, Wade Saunders wrote about the debacle in Art in America, also revealing that he discovered Ader’s written instructions for the 1973 project Thoughts Unsaid, Then Forgotten at the Nova Scotia College of Art and Design, which had been inaccurately recreated by Patrick Painter Editions.25

According to Horvitz, after Ader’s widow Andersen-Ader was shown his video by a documentarian, she remarked that she had “never seen this,” that Horvitz “had Ader’s hair,” and that Ader “would do this.” Perhaps Andersen-Ader’s more permissive response shows that with open-mindedness and a sense of humor, executors of a late artist’s estate can maintain the integrity and relevance of said artist while simultaneously embracing experimentations by other artists. In 2009, Horvitz exhibited the video at 2nd Cannons Publications in L.A.’s Chinatown. In a Los Angeles Times review of the show, Holly Myers wrote, “Horvitz’s indebtedness…to the Conceptualists of Ader’s generation is so great as to border, at times, on sheer imitation—and it may be that this young artist…has yet to find his own footing.… There’s heart to the work, however, and a kind of shrewd integrity that leaves little doubt that he will.”26 It is most accurate, however, to view Horvitz’s practice not as homage, nor as imitation, but rather as an exercise in questioning authorship, authority, historicization, legacy, and myth-making.

Art historian Woodruff noted that Cadere’s intention for placing himself within the orbit of more prominent artists like Buren was to “call attention to his own work.”27 Although his work was “formally and strategically very similar,” Cadere believed it was crucially different from Buren’s and other established conceptualists’ in that it was “more institutionally independent.”28 It appears here that Cadere found the move away from the institution virtuous. However, he did not completely shun the gallery and museum circuit and willingly operated within it toward the end of his career. Like Cadere, Horvitz’s practice has been supported by prestigious institutions while also pushing the boundaries of acceptability. Both artists have been perceived by their peers and authoritative figures as inappropriate agitators.

In Horvitz’s case, he places himself within a lineage of conceptual practitioners, speaking to them through his artistic practice, or using their posthumous careers as cautionary tales against institutional control. “What is your response to someone like Bize, who says you align yourself with Cadere, or even Ader, because you want attention or more exposure?” I asked. “All of Bize’s criticism towards me could go towards Cadere. ‘Oh, this guy is just doing these things for attention so people can talk about him!’” Horvitz responded. “That’s what artists do. They make work so people can talk about it.”

This essay was originally published in Carla issue 33.

Photo: Olivia Fougeirol.

André Cadere: a presentation of nine works 1974–1977 (installation view) (2023). Painted round bars of wood placed throughout the garden of David Horvitz (made in collaboration with Terremoto), February 2023. Images courtesy of David Horvitz. Photos: Rio Asch Phoenix.

André Cadere: a presentation of nine works 1974–1977 (installation view) (2023). Painted round bars of wood placed throughout the garden of David Horvitz (made in collaboration with Terremoto), February 2023. Images courtesy of David Horvitz. Photos: Rio Asch Phoenix.

André Cadere: a presentation of nine works 1974–1977 (installation view) (2023). Painted round bars of wood placed throughout the garden of David Horvitz (made in collaboration with Terremoto), February 2023. Images courtesy of David Horvitz. Photos: Rio Asch Phoenix.

  1. Kate Caruso, “Secret Garden: David Horvitz, Exploring the Balance Between Private and Public,” Artillery, May 4, 2021,
  2. “7th Ave Garden with David Horvitz,” Terremoto, accessed July 15, 2023,
  3. Dana Goodyear, “The Iconoclast Remaking Los Angeles’s Most Important Museum,” The New Yorker, October 5, 2020,
  4. Caruso, “Secret Garden.”
  5. David Horvitz (@davidhorvitz), “Also opening tomorrow in the garden for frieze LA,” Instagram photo, February 15, 2023,
  6. Bruce Hainley, “Românul: Bruce Hainley on André Cadere’s Itinerant Art,” Artforum 60, no. 9 (May 2022),
  7. (@andre_cadere), “Part I and Part II #andrecadere #andrécadere,” Instagram photo, February 28, 2023,
  8. (@andre_cadere), “About the article : ‘Cult Artist’s Rare US Show Gets Disavowed by His Estate, Ruffling Feathers in Los Angeles,’” Instagram photo, March 10, 2023,
  9. Lily Woodruff, Disordering the Establishment: Participatory Art and Institutional Critique in France, 1958–1981 (Durham: Duke University Press, 2020), 143.
  10. Woodruff, Disordering the Establishment, 144.
  11. “André Cadere: 1965–1978,” press release, Ortuzar Projects, 2022,
  12. Sanda Agalides, “Cold War Cadere,” in André Cadere / Andrei Cadere, ed. Magda Radu (Bucharest: Editura UNArte), 217.
  13. Hainley, “Românul.”
  14. Woodruff, Disordering the Establishment, 161.
  15. Hervé Bize, email to the author, May 31, 2023.
  16. (@andre_cadere), Instagram photo, March 10, 2023.
  17. David Horvitz, “Newly Found Bas Jan Ader film,” PatrickPainterGaller, September 6, 2007, YouTube video,
  18. “Bas Jan Ader,” Wikipedia, last modified January 17, 2007, 03:38, (archived web page).
  19. “Biography: Bas Jan Ader, 1942–1975,”
  20. Wade Saunders, “In Dreams Begin Responsibilities,” Art in America (February 2004): 57,
  21. Saunders, “In Dreams Begin Responsibilities,” 58.
  22. Saunders, “In Dreams Begin Responsibilities,” 62.
  23. Ingvild Krogvig, “Ten Questions: David Horvitz,” Kunstkritikk: Nordic Art Review, September 23, 2013,
  24. Saunders, “In Dreams Begin Responsibilities,” 60.
  25. Saunders, “In Dreams Begin Responsibilities,” 61–2.
  26. Holly Myers, “Art review: David Horvitz at 2nd Cannons Publications,” Los Angeles Times, July 16, 2009,
  27. Woodruff, Disordering the Establishment, 145.
  28. Woodruff, Disordering the Establishment, 145.

Tina Barouti, PhD is an art historian and curator from Los Angeles. She lectures in SAIC’s Art History, Theory, and Criticism department.

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