The Geffen Contemporary at MOCA tries hard to bring art and people together. They are unpretentious, have relatively low ticket prices (with discounts if you take public transportation), and programs that invite the public’s participation. For example: the Engagement Party series – a public program funded by the John Irvine Foundation that promotes new work from emerging Southern California-based artists. The latest artist to take up residency in the series is Ryan Heffington. Heffington is a performance artist, choreographer, designer, and “self-described dance guru who makes highly theatrical works exploring dance’s aesthetic and socio-cultural possibilities.” Seems like a perfect match for the Geffen’s social aspirations.

So Sean Lennon forms a band called GOASTT (with girlfriend Charlotte Kemp Muhl) and holds a concert in a cemetery. A quirky triad, or perhaps it a clever way to divert attention from the obvious ghost that comes to life when one looks at his face: his famous father. Yes, he has a famous mother, too, but between the clothes he wears onstage, the perfectly round spectacles, and the curly, longish hair, it is his father that comes to life out of our collective consciousness. Is the whole thing an embracing of his legacy or a path-of-least-resistance approach to expelling people’s expectations or prejudices? Give them what they expect in order to get their attention, then challenge that.

How does the new Lynda and Stewart Resnick Pavilion fit into the LACMA family? Surely you must remember the Arnold Schwarzenegger/Danny DeVito movie “Twins.” I will not go so far as to suggest that this is what the worldly architect Renzo Piano had in mind when he designed the Resnick Pavilion at LACMA and placed it right next to his other contribution to “the campus:” the Broad Contemporary Art Museum. The resulting effect, however, is not far off. As viewed from the Entrance Pavilion, the Resnik Pavilion looks like the less-developed sibling of the taller, more imposing BCAM. It’s, well, the grand Piáno and the baby Piáno (insert restrained, WASPY laugh here). Both buildings are topped by a saw-tooth roof, are constructed from the same pale travertene marble, and are embellished with this or that functional accent in fire engine-… sorry, “Renzo-Red:” a staircase (BCAM) or an air-duct (the Resnik).But these are just surface details. As LACMA CEO and director Micheal Govan assurs us, the Resnik Pavillion is nothing but grand when viewed from the inside.