At least Condo, in London and New York (and soon also Mexico City and São Paulo), and Okey-Dokey, in Düsseldorf and Cologne, had snappy names and branding. The latest manifestation of the increasingly popular gallery share model, hosted by three Los Angeles galleries, does not have a name. Its program, in which eight international galleries and one peripatetic “off-space” have descended on Hannah Hoffman Gallery, Kristina Kite Gallery, and Park View/Paul Soto for the month of March, seems to have evolved very organically. One might even call it ad hoc. Such a low-key approach may not necessarily be such a bad thing, indeed might even amount to an ideological and/or aesthetic stance, except that it also conveys the impression that nobody involved really expected anyone to talk about it much, or—especially—to write about it. So, why am I? Firstly, because the endeavor occasioned the display of some very good art, much of it previously unknown to me. And because gallery shares are a format that is becoming increasingly common, and will only get better if we take them seriously, critically. Also because such declarations of international allegiance between galleries are nearly always comment-worthy, especially when they converge on Los Angeles, which, …