The dominant form of Suzanne Lacy’s work is dialogue. Deeply collaborative and painstakingly structured without being scripted, the conversations she produces combine formal elements of happenings (Allan Kaprow was one of her mentors) with politically focused content that is often activist in approach and always attuned to power as it plays out in the lives of everyday people. Lacy came of age as an artist during the beginnings of feminist art (she left a career in zoology to study with Judy Chicago), and her work from the 1970s first foreshadowed and later shaped much of what we now call social practice. Her thought has also been deeply intersectional long before most white feminists learned about the concept. “We Are Here,” Lacy’s first major retrospective, is massive, spanning two very different institutions in San Francisco. (Currently based in Los Angeles, Lacy was previously the chair of what is now the California College of the Arts in San Francisco.) Curators from the San Francisco Museum of Modern Art and the Yerba Buena Center for the Arts co-organized the exhibition, and the two arrays of Lacy’s work in their galleries offer different curatorial approaches to presenting an opus that itself operates largely as a …