This week's list includes an awkward, bearded voyeur in West Hollywood, a picture of a white horse in a Chinatown basement and stereoscopic images of made-up archeology in Crenshaw.

5. Underground Malibu in 3-D

The name “Malibu” comes from “Humaliwo,” a word the Chumash Native American people used to mean “where the waves crash loudly.” Benjamin Lord calls his new portfolio of stereoscopic photographs the Humaliwo Chambers, because they imagine a web of chambers and tunnels in the Malibu hillside. The photographs — dense archeological fantasies of miniature coliseums in sand or rock formations covered in graffiti — are meant to be seen in 3-D through a sterescope viewfinder. Lord has set one up and laid out his portfolios at the end of the main hallway in “Pale Fire,” the new show Lily Siegel curated at Latned Atsar. 3222 W. Jefferson Blvd.; through June 4, by appointment.

4. Eroding Architecture

For Study for Erosion, Analia Saban used a laser to carve into a tiny canvas she had painted white. She carved a door and a floor, and tore up the walls so they look like decaying lace. Hers is one of the most gorgeously intimate examples, but other paintings and photographs in the group show “Architectural Dispositions” at Thomas Solomon Gallery also reimagine rooms, hallways and everyday spaces in quietly sophisticated ways. 427 Bernard St., Los Angeles, 323-275-1687,

3. Shaman in a Felt Fedora

German artist Joseph Beuys used to do “actions,” his word for “performances.” His most famous was I Like America and America Likes Me in 1974, in which he wrapped himself in felt and spent a few days in an New York gallery with a live coyote. A few years earlier, in 1969 in Frankfurt, Beuys performed Iphigenie auf Tauris, reciting text from Goethe's play Iphigenia, about the woman who sacrificed herself so Greece could take Troy. A white horse stood behind Beuys on metal sheets attached to a microphone, so every time the horse scratched or clunked, the sound was amplified. L.A. photographer Michael Montfort was there, and his images of Beuys, looking gaunt and shamanistic in his signature felt fedora, hang in the basement of Coagula Art Journal's new Chinatown space. 977 Chung King Road, Chinatown; through April 3.,

2. Your Grandparents' Garage, Rehabilitated

Old riding habits, motor belts, antique stirrups and other such things hang together in clusters in Rachel Foullen's exhibition at Ltd. Los Angeles. She's taken all those compelling but confusing objects you might find in your grandparents' garage and rearranged them so that they're more elegant than obsolete. 7561 W. Sunset Blvd; through May 26. (323) 378-6842,

1. A Naked Creepy Guy, in Stainless Steel

Charles Ray is good at immortalizing vulnerability, like when he depicted his bespectacled, awkward self staring up at a towering woman or when he hired Japanese craftsmen to carve a life-size replica of a fallen, rotting California Coastal Oak tree. In his just-opened show at Matthew Marks, a naked, bearded man stares across at a woman sleeping on a bench, using a blanket as a pillow. It's all machined in stainless steel, so its creepiness feels permanent. 1062 N. Orange Grove Ave.; through June 23. (323) 654-1830,

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