In late March, 356 Mission announced that it would close, sending out a letter calling its run “a labor of love,” done “with finite resources, and never intended to last forever.” The letter also noted that “[s]ome took issue with our impact on the neighborhood.” The space’s final show, a virtuosic, kitschy installation by Charlemagne Palestine, played with the notion of a “mission.” Palestine filled coffins with stuffed animals, and built immense piles of additional stuffed animals.

Last month, UTA Artist Space said that it would move in July to a new 4,000-square-foot space in Beverly Hills, not far from UTA’s headquarters, though Joshua Roth, who heads the art business, told me that activism wasn’t the reason for the new location. “An opportunity presented itself that offered greater connectivity to our Beverly Hills headquarters,” he said. “We had no issue with protesters.”

But even as galleries are closing or relocating, development continues.

Venus Over Los Angeles closed abruptly in September 2017—“We are celebrating the closures,” wrote DBH on Facebook. The gallery did not respond to requests to comment on whether protests influenced their decision to vacate the space, but its owner, art collector Adam Lindemann, owner, art collector Adam Lindemann, had purchased a $9.75 million building on Imperial Street earlier that year, just across the river from Boyle Heights, filing plans for a 12-story live/work building. Tech companies are vying for former art spaces, the big-budget Sixth Street Viaduct Project is linking the thoroughly gentrified Arts District to still-resisting Boyle Heights with a new bridge, and Councilman Huizar is arguing that mass-scale demographic changes won’t occur in the area even as one of his former staffers lobbies for market-rate micro apartments in increasingly desirable Skid Row. Meanwhile, the Los Angeles County Museum of Art is mulling a satellite operation in fast-changing South L.A.

In April, Stark announced his decision to close MaRS during an appearance on the local public radio show Design and Architecture. The final show, of work by the under-known sculptor Lauren Szold, opens in June. Stark offered the “ceremonial and actual closing” of his gallery up to the protesters. He did not know exactly what this meant, he admitted when I met him at a coffee shop a week later. “I would want them to define that,” he said, saying he hoped the radio segment had not put them on the defensive. He continued, “I do think that white culture is symbolic of systemic violence and that’s where it gets its authority. DBH has given all this a narrative. No one in the art world knows what to do with this—it’s held [a] mirror up.”

The gallery owners “try to minimize themselves by blaming other forces,” Blaney, of Union de Vecinos and Ultra-Red, wrote, when I emailed her a few weeks ago. She had already agreed to meet with Stark. “He speaks of ‘symbolic closing’ but what commitment is he making to the neighborhood [. . .]?”

Stark met with activists at Union de Vecinos on May 4, walking in to find about a dozen people in ski masks. They discussed economic violence and neoliberal excesses, he told me via text. He left them to deliberate over whether he could help them. DBH did not reply to requests for comment on the meeting, but they posted on their website on May 17: “In only two short years our victories continue stacking in our favor. [. . .] We [are] still saying GTFO! [. . .] The fight to defend our ‘hoods is a fight for our collective survival.”