orrowing from the language of commemorative plaques, comic books, political cartoons, and pop culture, Ben Sakoguchi’s 15-panel, acrylic-on-canvas (2015) was the banner work in his exhibition of the same name at Bel Ami gallery, itself located in Los Angeles’s Chinatown neighborhood. The central panel of Sakoguchi’s painting is a searing depiction of the Chinese massacre of 1871, in which 18 Chinese men were hanged by a mob of 500 White
