By Shelley Leopold

n the early morning hours in mid-December, an amazing masterpiece of epic pink proportions appeared above the Melrose strip. Not MOCA's Murakami billboard itself, but rather a young curator's fantasy art show: “Murakami/AUGER/REVOK.” The spectacle lasted two days, and then it was gone. For most of us who missed it entirely, the billboard became art-opening gossip – already a mythic achievement – and yet another coup pulled off by a couple of L.A.'s most prolific and talented AWR/MSK writers.

Luckily, REVOK carried his camera that day, and L.A. Weekly received the photo; we were wowed. So, it turns out, was Murakami, whose Kaikai Kiki studio found the evidence via the Internet and had the billboard surreptitiously removed. Murakami buffing billboards all the way from Japan? On the contrary, according to his representatives, he found it “so wonderful, he had to have it for his collection.” Our billboard is now on its way to Tokyo.

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