inherent to what amounts to a smug citywide territorial pissing, the wholesale conversion of arbitrary chunks of nonmuseum life (chosen mostly for their adjacency to billboards running from the Westside to downtown) into second-rate ’60s conceptual art is hardly going to convince the “sometimes wary advertising-bombarded youthful audience” targeted by the campaign that a wealth of cutting-edge creativity is lurking on Bunker Hill. Nor will it ingratiate itself with many artists, even the ones who still think using a museum label to identify smog as art is a pretty neat idea. Apart from the fact that MOCA commissioned a multinational advertising conglomerate to do what could have been done by individual professional artists, the jokes just plain suck."