"She Accepts the Proposition: Women Gallerists and the Redefinition of Art in Los Angeles, 1967-1978," and "It Happened at Pomona: Art at the Edge of Los Angeles, 1969-1973, Part 1: Hal Glicksman at Pomona," had more in common than the fact that their unwieldy titles began with complete sentences. Although they took place at opposite ends of the region—at Crossroads School in Santa Monica and Pomona College Museum of Art, respectively—they both documented what art critic Lucy Lippard described in 1973 as "the dematerialization of the art object," or the rise of conceptual, post-Minimal and Light and Space art. They also both focused on gallerists or curators as champions of this sometimes challenging work, and they were both hosted by educational institutions. (Unfortunately, both exhibitions have now closed, although "Part 2: Helene Winer at Pomona" of the 3-part "It Happened at Pomona" is now on view.) But as it happens, on the days I visited, each exhibition was filled with the voices of young people.