The lineup is excitingly diverse this week: a reprise of Christian Marclay's now-famous 24-hour film, some lush landscape, a little-known L.A. painter, art like a vintage horror movie and (hopefully) not-boring performance.
5. Landscapes for inmates
Kelly Poe's photographs of rural landscapes are almost too pretty — deep blue desert skies and forest floors so lush they seem like fantasies. They are fantasies, in a way, since Poe made these images after seeking out seven environmental and animal-rights activists who had been labeled domestic terrorists and imprisoned. She corresponded with the activists, asking them about the most comforting outdoor places they remembered; then she tracked down those places and tried to make her photographs of them as mesmerizing as they were in the activists' descriptions. At LAX Art, you can view the images and read the sometimes arduous correspondence between the artist and inmates with too much passion and time on their hands. 2640 S. La Cienega Blvd., L.A.; through April 14. (310) 559-0166, laxart.org.
4. Strung out at 5 a.m.
When Christian Marclay made The Clock, a 24-hour film montage that strings together clips of timepieces, each showing the time that it is as you're watching it, morning's wee hours were the hardest to compose. “You have to imagine that, if you've been up watching and it's 5 a.m., you're in a weird state of mind,” he has said. So in the 5 o'clock hour, he strung together wonky dream sequences. The Clock debuted at LACMA a year ago this May, and you can see it again in the museum's Bing Theater this weekend. 5905 Wilshire Blvd.; Sat., March 24, noon-Sun., March 25, noon; free. (323) 857-6000, lacma.org.
3. Dial M.
Night Gallery is open only from 10 p.m. to 2 a.m. and lit only enough to allow you to see the art. The current show, called “M.” and featuring five local artists, is black-lit, so your teeth and shoelaces glow. Wandering through feels like moving through a Hitchcock film. There's a small cardboard model of the gallery, a painting with eyes poked out so you can see through it into the storage space next door, and a cultish arrangement of blocks in a closet-sized room with a narrow door you have to squeeze through. 204 S. Avenue 19, Lincoln Heights; through March 29. (650) 384-5448, nightgallery.ca.
2. A bad girl's comeback
Penny Arcade, the Connecticut girl who changed her name from “Susan” while on an LSD trip at age 17, began touring performances she'd written in the '80s and early '90s. Among them was BITCH!DYKE!FAGHAG!WHORE!, about sex and censorship and, she said, “like theater, only not boring.” She doesn't tour as often anymore, but she'll present her new show, THE GIRL WHO KNEW TOO MUCH, at Human Resources in Chinatown this weekend. 410 Cottage Home St.; Fri., March 23, 8 p.m.; $8. (213) 290-4752, humanresourcesla.com.
1. Rule breaker
Ben Sakoguchi's Right/Wrong paintings parody what's allowed and not allowed in art. It's right to be an eccentric abstractionist like powerhouse Louise Nevelson, while it's wrong to be a cute old lady who paints puppy dogs. A modernist sculpture looks right in a modernist living room; it's wrong in a tenement kitchen. In some ways Sakoguchi's own small, realistic renderings are wrong. Made between 1968 and today, they're autobiographical, illustrative, literal, not pithy and minimal like the work of many of Sakoguchi's peers. Their wrongness makes them fun. 8568 Washington Blvd., Culver City; through April 21. (310) 815-1100, cardwelljimmerson.com.