Jonathan Griffin

Events that have pummelled Southern California’s news organizations over the past two years seem to have galvanized its local readership

Kapwani Kiwanga, Flowers for Africa: Nigeria, 2014, written protocol signed by the artist, iconographic documents, dimensions variable. Courtesy: the artist and Galerie Jérôme Poggi; photograph: © Aurélien Mole

At the Hammer Museum, LA, the curator casts a witty, critical eye on the vexed role of institutions contextualizing the art they display

Illustration by Lauren Rolwing

On losing faith in generalism, learning to listen and embracing doubt 

Primordial Saber Tararear Proverbiales Sílabas Tonificantes Para Sublevar Tecnocracias Pero Seguir Tenazmente Produciendo Sociedades Tántricas – Pedro Salazar Torres (Partido Socialista Trabajador), 2017, installation view, Regen Projects, Los Angeles. Courtesy: Regen Projects, Los Angeles; photograph: Brian Forrest

Regen Projects, Los Angeles, USA

Jim Shaw, The Wig Museum, 2017, installation view, Marciano Art  Foundation. Courtesy: The artist and Marciano Art Foundation, Los Angeles; photograph: Roberts Wedemeyer

Marciano Foundation, Los Angeles, USA

Team Bungalow, Los Angeles, USA

Jason Rhoades, My Madinah. In pursuit of my ermitage..., 2004, mixed media, dimensions variable. Courtesy: Hauser & Wirth Los Angeles, The Estate of Jason Rhoades and David Zwirner; photograph: Fredrik Nilsen

Hauser & Wirth, Los Angeles, USA

From growing protests over the gentrification of Boyle Heights to Schimmel leaving Hauser & Wirth, the latest from a mobilizing LA art scene

Hannah Hoffman Gallery, Los Angeles, USA

Walker Art Center, Minneapolis, USA

The best of this year's LA shows, featuring Nathaniel Mellors and a survey at the newly opened Hauser Wirth & Schimmel

Honor Fraser, Los Angeles, USA