Jasper Johns’s retrospective at the Broad Museum in Los Angeles opened incisively with a singular work, (1960), a conceptually rigorous yet jocular painting with a humor that is part schoolboy and part art-world-sophisticate. Wedged in a slender, horizontal crevasse between two of the work’s stacked canvases is a pair of paint-smeared balls. Behind them, the gallery wall peeks through. The painting’s surface is daubed

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