From the Broad collection

BROAD TASTES: The collector at his Santa Monica foundation, with Mike Kelley’s “Infinite Expansion” (2003). (Anne Cusack / LAT)

Sept. 15, 2014 3:43 PM PT

‘UNDER THE TABLE’ (1994)
Foundation visitor Wendy Wintrob peeks from under Robert Therrien’s massively scaled wood, metal and enamel work, one of Broad’s favorites. (Anne Cusack / LAT)

‘NEW SKIN’ (2002)
Doug Aitken’s video installation, installed in a room of its own on the second floor, explores the plight of a young woman who collects images as she loses her eyesight. (Anne Cusack / LAT)

‘LIKE YOU’ (1995)
Broad says he considers artist Lari Pittman’s mammoth-scaled painting, an oil and enamel on five mahogany panels, to be a masterpiece. (Anne Cusack / LAT)

FOUR FLOORS AND A BASEMENT: The entire exhibition is by L.A. artists, including works by Ed Ruscha, above. (Anne Cusack / LAT)

‘SEASHELLS/TRIDENTS/FRAMES’ (1988)
John Baldessari assembled a grouping of black-and-white photographs that are cropped or partly covered and have no obvious relationship to one another. At least not at first. (Anne Cusack / LAT)

‘WHY WOULD I LIE?’ (1999)
This work by painter Amy Adler, another of the Los Angeles-based artists in the new exhibition, involves six separate cibachrome prints mounted on sintra. (Anne Cusack / LAT)

‘BATEAU DE GUERRE’ (2001)
Chris Burden’s battleship, made of gasoline cans, plastic toys, a miniature castle and electric lamps, is a scary/funny thought-provoker about war games. (Anne Cusack / LAT)

BY INVITATION ONLY: The Broad Art Foundation headquarters is housed in a renovated 1927 telephone switching station in Santa Monica. (Anne Cusack / LAT)

‘THE OLD TECH CHEM BUILDING’ (2003)
Ed Ruscha, acrylic on canvas. (Anne Cusack / LAT)

‘SCULPTURE OF LIFE’ (2003)
Duane Hanson, one of four chromogenic prints. (Anne Cusack / LAT)

WORKS BY CHARLES RAY, including Male Mannequin (1990), mixed media, left, and Plank Piece, I-II, 1973, two black and white photographs mounted on rag board. (Anne Cusack / LAT)

‘SUNSET-GARDNER CROSS’ (1998-99)
Ed Ruscha, acrylic on canvas. (Anne Cusack / LAT)

‘JUNCTION SERIES’ (2002)
John Baldessari, birds (with people) and soldiers (at attention), digital photographic print with acrylic on sintra board. (Anne Cusack / LAT)