This week, two artists dance with hula-hoops, another uses graffiti to obscure paintings of high-heeled, made-up models and a third installs hairy bronze statues in WeHo.

5. Just say no

In 1962, Judson Dance Theater started at the Judson Church in Greenwich Village. Programming was informal; writers and artists contributed as much as dancers and choreographers did. Trisha Brown worked at Judson, as did Simone Forti and Yvonne Rainer, who developed her No Manifesto there. (“No to spectacle. No to virtuosity,” it started, then continued to list all the tropes of performance Rainer wished to reject.) Rainer and Forti will be at the Hammer this weekend, along with a number of other artists, dancers, theorists and historians, talking about where the dance world and art world meet. 10899 Wilshire Blvd.; Fri., April 26, 5-9 p.m.; Sat., April 27, 10-2 p.m. (310) 443-7000,

4. Self-sabotage paintings

At Honor Fraser gallery, artist Kaz Oshiro's bright monochromes do not quite fit the spaces he has chosen for them. One yellow-orange canvas, hung vertically, is taller than the wall, and so it bends onto the ceiling on the top and bends onto the floor on the bottom. Oshiro also has stuck a number of other rectangular paintings into corners, so that the canvas ripples and curls awkwardly. The show feels like the last-minute recklessness of someone who really wants to play by the rules – paint cleanly on straight-edged canvases – but can't help sabotaging himself every time he gets too close to doing it right. 2622 S. La Cienega Blvd.; through May 25. (310) 837-0191,

3. Hula-hooping in the dark (in the nude)

“What I'd like is walls of burgers everywhere, the whole world filled with walls of burgers,” says Swiss artist Marie-Caroline Hominal, performing in Fly Girl, her one-woman show. “It would be just like the Berlin Wall, only no one would starve.” She's wearing knee-high boots but no shirt and pasties over her nipples as she speaks, and has been dancing with a gun. Hominal dances nude with a Hula hoop in Duchesses, a performance she developed with French choreographer François Chaignaud. At Night Gallery this weekend, the two Hula hoop in the dark for close to half an hour, paying homage to the hoop as a “symbol of sexual liberation” while acknowledging how restrictive it can be. 2276 E. 16th St.; Sun., April 28, 8 p.m. (650) 384-5448,

2. Beauty isn't easy

First you see the swirl of purple graffiti, then the broken glass and the splashes of dirty water. Then, finally, you might see the painted toenails and platform heels that are the subject of Marilyn Minter's painting Not in These Shoes. The painting is 13 1/2 feet across, billboard size, yet produced so meticulously that it still looks sleek and glamorous. But in this painting and others in her current show at Regen Projects, Minter makes glamour monstrous and confusing. 6750 Santa Monica Blvd.; through May 11. (310) 276-5424,

1. Cavemen in WeHo

You may not have noticed that West Hollywood Park, right next to the new library and across from the Pacific Design Center, has a raised concrete platform in the middle of its garden, or that the garden has whimsically shaped paths weaving through it. But now that artist Liz Craft, as part of her “Temple of Folly” project with Los Angeles Nomadic Division (LAND), has installed a bronze teepee on that platform, and put her “hairy guys” sculptures in and around those paths, it will be harder to miss. The teepee, mostly black and made of bronze, has an eye staring out from the front and another staring out from behind. The hairy guys look like Captain Caveman from that '70s cartoon, their long mats of hair covering their bodies so just their noses and lanky pink limbs stick out. 625 San Vicente Blvd.; through Oct. 2013. 646 620 8289,

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