LOS ANGELES — Everyone — almost everyone — agrees. Artwise, Los Angeles is having a moment. Again. Or still. Numbers say so. Not long ago, galleries here numbered in the few dozens; now there are around 200 — huge, teensy, rich, shoestring — clumped across the city. Several of the largest are imports from the East Coast and abroad. And last week a contingent of out-of-town art power flew in for the debut of one of them, the largest so far, Hauser Wirth & Schimmel, in the downtown arts district.

The new space is declaratively, competitively immense. Housed in a revamped industrial complex — a flour mill built in incremental sections in the late 19th and early 20th centuries — it’s a commercial gallery on an institutional scale. At 113,000 square feet, with 24,000 devoted to gallery space, it’s bigger than either the Met Breuer or the New Museum in New York. And despite having Zurich roots, it comes with strong local credentials. It represents several major Southern California artists, and Paul Schimmel, the former chief curator of the Museum of Contemporary Art here, is a Hauser & Wirth partner and director of the new branch.

Mr. Schimmel could have gone for Instagrammable red carpet splash with his inaugural presentation. Instead, he has opted for intelligence, politics and history in a show called “Revolution in the Making: Abstract Sculpture by Women, 1947-2016.” He made a particularly smart choice in his co-curator, Jenni Sorkin, an art historian who worked on the 2007 exhibition “Wack! Art and the Feminist Revolution,” one of the great history-writing shows of the century so far, and one that originated at the Museum of Contemporary Art here.