The largest crate that ever came into LACMA’s galleries held Robert Grosvenor's sculpture Untitled (yellow), or so said curator Stephanie Barron a few nights ago at a preview of "Los Angeles to New York: Dwan Gallery, 1959-1971." Grosvenor’s sculpture, a futuristic abstraction in bright-yellow aluminum, hangs from the ceiling and juts across the space without ever touching the ground. Dwan showed the original version of it in her Los Angeles gallery in 1966, and LACMA’s show highlights the impressive scope and ambition of Dwan’s program. She helped artist Michael Heizer dig two huge gashes in the Mojave Desert and helped Charles Ross build his templelike star chamber in New Mexico. Later, after she opened her New York space, she showed the conceptual, wry and strange work of Lee Lozano. (There was a dearth of female artists in Dwan’s repertoire, however, as there have been in so many programs run by women as well as men.) Dwan cared about her artists and their work deeply and rarely broadcast her own influence. Few know that her patronage made the United States’ most iconic land artworks possible. She never liked talking much about art, as she explained during a talk she gave at LACMA on March 14. She was interested instead in the gestalt, the whole immersive experience of the artworks she loved.