The smell of marijuana was really thick in the air at Los Angeles’s Redling Fine Art. “You can get a contact high just walking into this place!” I blurted out to the woman behind the counter. She smiled broadly already stoned? and informed me that the gallery runs exhaust fans pumping out the fumes. Such is the life of the L.A. art gallerist who moves her trade to a Hollywood strip mall adjacent to a weed dispensary. Now I have never directly suffered from it secondhand, and yet, the Redling hotbox atmosphere added more than mere olfactory assault to the workings of the Walead Beshty and Kelley Walker joint project (pardon the pun) on view. The sense of something illicit, adolescent, perhaps only tamely transgressive—a smoking-pot-in-the-basement, rec-room kind of vibe—runs through the work, tempered by a slickness that only shrewd experience in the art world can buy. The gallery is entirely bare, save for the collaborative work Hardbodies Software (2014) standing approximately four feet wide by eight feet high on one wall. It intersperses three tall vertical strips of six-inch wide sections of Walker’s so-called “brick” paintings with three similarly-sized sections of Beshty’s copper “surrogates” (the name is lifted from Allan McCollum’s …