Over the decade and a half of his career to date, Terence Koh has generated so many myths that it is now nearly impossible to begin thinking about his work without first acknowledging the tales of his personal and professional decadence in New York during the pre-crash mid-aughts, or the story of his apparent atonement when he faded from hypervisibility following his 2011 show “nothingtoodoo” at Mary Boone, New York, retreating with his partner to a mountaintop in the Catskills. The legend is threadbare from retelling; you’re at a computer—if you don’t already know it, Google him. Better, instead, to start with some facts about Terence Koh in 2017. On the roof of Moran Bondaroff gallery in West Hollywood, Koh has built a beehive with a door big enough for humans to crawl inside. Above a mesh screen, teeming live bees build honeycomb between wooden slats. The hive—titled bee chapel (2017), the third he has made after a prototype in the Catskills and a version for his 2016 exhibition at Andrew Edlin Gallery, New York—stands on a rustic wooden platform perhaps six feet high, beside a temporary rooftop garden. Lavenders, sages, yarrow, fruit trees, leaf vegetables, and herbs grow in pots, …