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NEW YORK — President Trump’s 10% global tariffs were declared unlawful by a federal trade court in a fresh blow to the administration’s economic agenda, several months after the U.S. Supreme Court vacated earlier levies he’d imposed.

A divided three-judge panel at the U.S. Court of International Trade in Manhattan on Thursday granted a request by a group of small businesses and two dozen mostly Democrat-led states to vacate the tariffs. Trump imposed the 10% duties in February under Section 122 of the Trade Act of 1974, which had never previously been invoked.

The court for now only immediately blocked the administration from enforcing the tariffs against the two companies that sued and Washington state, making clear that it was not issuing a so-called universal injunction. The panel found that the other states that sued lacked standing because they aren’t direct importers, instead arguing that they were harmed by having to pay higher prices for goods when businesses passed on tariff costs.

It wasn’t immediately clear what the ruling would mean for now for other importers that had been paying the contested levies.

The majority of the panel rejected the administration’s stance that “balance-of-payments deficits” — a key criterion for imposing the Section 122 tariffs — was “a malleable phrase.” They concluded that Trump’s proclamation imposing the levies failed to identify that such deficits existed within the meaning of the 1974 law, instead using “trade and current account deficits to stand in the place.”

The decision is the latest setback for the president’s effort to levy tariffs without input from Congress. Earlier duties — overturned by the Supreme Court on Feb. 20 — were issued under a different law, the International Emergency Economic Powers Act, or IEEPA. In that case, the justices ruled Trump had exceeded his authority, kicking off a legal scramble by importers for almost $170 billion in refunds.

The U.S. Justice Department could challenge the trade court’s latest ruling by taking the case to the U.S. Court of Appeals for the Federal Circuit, which ruled against the Trump administration during the last tariff fight.

Section 122 allows presidents to impose duties in situations where the U.S. faces what the law defines as “fundamental international payments problems.” Even before Trump issued the tariffs, economists and policy experts debated whether the president would be able to build a solid legal framework using the statute.

In a proclamation declaring the use of Section 122, Trump said that tariffs were justified because the U.S. runs a “large and serious” trade deficit. He also pointed to the negative net flows of income from investments Americans have overseas and other things that showed the U.S. balance-of-payments relationship with the rest of the world was deteriorating.

Under the law, presidents have the ability to impose tariffs on goods imported into the U.S. on a short-term basis to address concerns about how money is flowing in and out of the country. Those concerns include “large and serious United States balance-of-payments deficits” and an “imminent and significant depreciation of the dollar.”

Unlike other legal options Trump might pursue to impose tariffs, Section 122 can be invoked without waiting for a federal agency to conduct an investigation to determine whether the levies are justifiable. But they can still be challenged in court.

The small businesses and states that sued argued that Section 122 became outdated when the U.S. ditched the gold standard decades ago. They say Trump improperly conflated “balance-of-payments deficits” with U.S. trade deficits in order to justify using the law.

They also allege that Trump’s order announcing the Section 122 tariffs was “riddled with omissions and mischaracterizations” around the meaning of a balance-of-payments deficit. The trade deficit cited by Trump is just one part of calculating the country’s balance of payments position, the states say.

Under Section 122, the president can order import duties of as much as 15%. The executive action can last 150 days, at which point Congress would have to extend it. Trump has said he would aim to increase the rate to 15% from 10%.

The states argue that Trump’s new tariffs violate other requirements in Section 122, including that such duties not be discriminatory in their application. The states argue that Trump’s new tariffs improperly exempt some goods from Canada, Mexico, Costa Rica, the Dominican Republic, El Salvador, Guatemala, Honduras and Nicaragua.

According to the complaint, the Trump administration conceded during the previous litigation over his IEEPA tariffs that trade deficits “are conceptually distinct from balance-of-payments deficits.”

The clash over Section 122 emerged just as the legal fight over refunds from Trump’s IEEPA tariffs began to heat up. A different judge in the Court of International Trade, U.S. Judge Richard Eaton, is overseeing the massive refund effort and ordered Customs and Border Protection to give him regular updates on a largely automated process the government will use to issue most refunds.

Larson and Tillman write for Bloomberg.

It’s time for Mira Costa to try to wipe away the disappointing memory from last season’s Southern Section Division 1 girls’ beach volleyball final, where the Mustangs lost to Redondo Union 3-2.

Mira Costa faces JSerra at 1:30 p.m. Saturday at Long Beach City College in this season’s championship game.

Key returnees for Mira Costa are Lily Vandeweghe, Lily Enfield, Harper Terry and Izzy Elston.

JSerra has succeeded in breaking up the Mira Costa-Redondo Union beach volleyball domination. Those teams had met in the final for the previous three years.

The Mustangs swept San Marcos 5-0 in the semifinals on Thursday. JSerra eliminated No. 2-seeded Redondo Union 3-2.

Venice won the City Section title over Taft on Friday.

This is a daily look at the positive happenings in high school sports. To submit any news, please email eric.sondheimer@latimes.com

CITY SECTION BOYS VOLLEYBALL PLAYOFFS

MONDAY’S SCHEDULE

(Matches at 4 p.m. unless noted)

DIVISION I

First Round

#16 LA Roosevelt at #1 Taft

#9 East Valley at #8 Harbor Teacher

#12 El Camino Real at #5 VAAS

#13 Van Nuys at #4 North Hollywood

#14 Grant at #3 Cleveland

#11 Sun Valley Poly at #6 Vaughn

#10 Verdugo Hills at #7 Larchmont Charter

#15 South Gate at #2 Sylmar

DIVISION II

First Round

#17 San Fernando at #16 Bravo

#20 Magnolia Science at #13 Birmingham

#19 Burton at #14 Fairfax

#18 Granada Hills Kennedy at #15 Middle College

DIVISION III

First Round

#17 Annenberg at #16 Animo Robinson

#20 King/Drew at #13 Stern

#19 San Fernando at #14 Animo De La Hoya

#18 Smidt Tech at #15 Animo Bunche

DIVISION IV

First Round

#17 Canoga Park at #16 Bell

#20 Chavez at #13 Neuwirth Leadership

#19 West Adams at #14 USC Hybrid

#18 Community Charter at #15 Washington Prep

DIVISION V

First Round

#17 Garfield at #16 Dymally

#24 Simon Tech at #9 Alliance Levine

#21 LAAAE at #12 Valor Academy

#20 Valley Oaks CES at #13 Rancho Dominguez

#19 Lakeview Charter at #14 Franklin

#22 LA Jordan at #11 Stern

#23 Port of LA at #10 Animo De La Hoya

#18 Triumph Charter at #15 Sotomayor

WEDNESDAY’S SCHEDULE

(Matches at 7 p.m. unless noted)

OPEN DVISION

QUARTERFINALS

#8 Carson at #1 Granada Hills

#5 LA Marshall at #4 Venice

#6 Wilmington Banning at #3 Chatsworth

#7 Eagle Rock at #2 Palisades

Note: Second Round in Divisions II-V, May 7 at 4 p.m. at higher seeds; Quarterfinals in Division I, May 7 at 7 p.m. at higher seeds; Quarterfinals in Divisions II-V, May 11 at 7 p.m. at higher seeds; Semifinals in Open and Division I, May 12 at 7 p.m. at higher seeds; Semifinals in Division DII-V, May 13 at 7 p.m. at higher seeds; Finals in all divisions May 15-16 (sites and times TBD).

It’s not only easy to get lost in the Los Angeles County Museum of Art’s new David Geffen Galleries, it’s inevitable, intentional — and one of the best things about the place.

The museum has deconstructed the traditional, boxy narrative of art history and rendered the story itself a matter of curves and continuities. Art in the collection is freed from its departmental silos and put into conversation across genre lines, place and time.

The museum has physically invalidated the binaries of center and periphery, major and minor arts. In a startling and largely gratifying way, LACMA has done what the poet Audre Lorde, alluding to a different but not unrelated aspect of patriarchal dominance, deemed impossible: used the master’s tools to dismantle the master’s house.

The change goes far beyond a remodel. It’s a reinvention, a recalibration, a revisionist fever dream.

The vision conceived by museum director and Chief Executive Michael Govan and architect Peter Zumthor is not perfect, and brings with it a modest set of frustrations, but as a whole, the installation registers as ravishing and bracingly fresh. It thrusts us midstream into the ageless, ceaseless flow of makers worldwide reckoning with life, earth and being.

It prompts us, as we bob about, to reflect on our own proclivities and preconceptions, our patterns of reception and perception.

It compels us to recognize that what matters is not just what we see in the museum but how we see, what pulls us close and why, what private histories we bring to the occasion, what expectations, what tools.

Over two visits to the new building, getting my physical bearings mattered less and less as I surrendered to the generative sensations of not knowing. The museum has produced a dense guidebook to the new galleries, whose title, “Wander,” doubles as invitation and imperative. Even at 430 pages, the book is only minimally useful as an orientation device. For help with that internal navigation, Rebecca Solnit’s moving 2005 book, “A Field Guide to Getting Lost,” proved a better compass.

LACMA’s guidebook to the David Geffen Galleries, called “Wander,” doubles as invitation and imperative.

(Museum Associates / LACMA)

Solnit, citing the cultural critic Walter Benjamin, writes, “to be lost is to be fully present, and to be fully present is to be capable of being in uncertainty and mystery.” She goes on to recall how roaming freely as a child was key to developing self-reliance, which feels apt to the LACMA strategy. We are put in charge of making our own way, through tapestries and tea sets, past ancient jug and contemporary sphinx, without heavy-handed authoritative direction.

The history of art reads here as one long, free verse poem-in-progress, gorgeous and absorbing. Even so, many of the most memorable moments come in the form of cogent micro-essays, smartly curated ensembles of work bearing a legible, lucid premise. Some of these are contained within four (rectilinear) walls; some occupy less demarcated spaces. “Tonal Variations: Photography and Music,” for instance, gathers images by Paul Caponigro, William Eggleston, Lisette Model and others. These artists were also serious pianists, attuned, no matter which instrument they were using, to the qualities of rhythm, pattern and progression.

Lisette Model, “Window at 5th Avenue,” 1940, Los Angeles County Museum of Art

(Museum Associates / LACMA)

In a section headed “The Global Appeal of Blue-and-White Ceramics,” a long display case houses a timeline articulated sculpturally. The sequence advances from a 9th century bowl made in Iraq to a 13th century vessel from China, a 14th century example from Thailand, another from 15th century Syria, up to work by a 20th century German artist who transformed a functional vessel into personal adornment by cutting a string of beads out of the planar surface of the bowl.

Dish, Turkey, Iznik, c. 1530-35, Los Angeles County Museum of Art

(Museum Associates / LACMA)

On the wall facing this display is a huge vitrine containing an 18th century Talavera jar from Mexico, paired with a 2025/26 color photograph by Brooklyn-based Stephanie H. Shih. In the still-life composition, a cheeky visual lesson on the collision and convergence of cultures, the jar holds flowers, cactus and edible Mexican treats influenced by Chinese and Filipino flavors.

Top, Stephanie H. Shih, 梅國 “(Still life with chamoy and Dirty T Tamarindo),” (2025- 26); bottom, Jar (c. 1700-50)

(Museum Associates / LACMA)

Shih is one of a handful of artists commissioned to create new work using the museum’s collection as muse. L.A.-based Lauren Halsey is another. Her formidable, untitled 2026 sphinx regally commands its space among ancient Egyptian and Roman sculpture, a marvel of the cross-temporal and cross-spatial, spiked with specific references to Black self-determination.

Setting recent works among older ones is an effective element of LACMA’s overall plan to shed outworn hierarchies. It recasts every piece of art by every artist throughout the single-story space as equally relevant. The seamless integration of old and new feels stealthy, and a touch subversive, a doubling-down on the museum’s approach to time as nonlinear, sinuous and delightfully slippery.

Lauren Halsey’s untitled 2026 sphinx.

(Museum Associates / LACMA)

That said, a few words readily available would help connect the dots without undermining the provocation. Text — where and how it appears, or doesn’t — is my only major complaint about the installation of the new galleries.

Text panels announce, in one or two paragraphs, the themes of each given section: “Images of the Divine in South Asia”; “The Evolution of Abstract Painting in Modern Korea”; “Textile Conversations: Africa and Black America.” Individual object labels are kept minimal, containing only basic identification about each work, no commentary. When asked about this decision during my first walkthrough, Govan replied that more time reading means less time looking — “and we have the internet.” Every thematic text panel has a QR code that links to the Bloomberg Connects app, an aggregate guide to museums and other cultural sites that offers selected, augmented entries.

Determining how much didactic information is insightful and sufficient, and how much constitutes excessive artsplaining, is a delicate, ongoing challenge for museums. Where LACMA landed on this contested plain strikes me as unfortunate and counterproductive.

A few lines of explanation or context on a wall label can add perspective for even the most informed visitor, and provides crucial support to those with less foundational exposure and access to art.

You can take or leave text on a wall without breaking your stride, but text accessed via QR code is another matter. (Never mind that connectivity is spotty inside a sprawling concrete shell, and several times when I tried to get information from the app, I couldn’t.) Encouraging us to shift our gaze from the wall to our devices — to assume that accursed downward tilt of the neck when splendors abound before our eyes — is simply detrimental. It breaks the spell of being fruitfully lost in the present, and retethers us to the digital distractions that dominate our days.

Wall text beside Francis Bacon’s “Three Studies of Lucian Freud” (1969), at Los Angeles County Museum of Art.

(Museum Associates / LACMA)

Shouldn’t the imaginative minds that created this space, this opportunity to revel in direct sensual experience, want us to keep our attention where our bodies are? Why this fallback to current convention, when the rest of the experience is about radical reinvention? This feels like a missed opportunity. I’m hoping a more experimental, exploratory approach to providing information, context and interpretation, in keeping with the rest of the enterprise, might yet come.

Does the new structure serve the art? Mostly, very well.

The lighting is varied, treated as another texture in the space, palpable and rich. There’s a generous amount of natural sunlight, but some spots are noticeably dim. Some gallery walls are glazed in deep hues (reddish and eggplant), and the intensity of the color is jarring at first. But neutral, white-box viewing spaces (with even, predictable lighting) can be found elsewhere on LACMA’s campus and pretty much anywhere art is shown. Here, the very irregularity of the interior environment, including the concrete surfaces — richer and more textured than I expected — heightened my alertness. And keener senses tend to make for more consequential experiences.

In deciding how to organize roughly 2,000 works of art across 110,000 square feet of exhibition space, LACMA devised a conceptual schema that isn’t apparent in the galleries themselves. The “Wander” guide maps out the division of the space into four regions correlating to bodies of water: the Indian, Atlantic and Pacific oceans, and the Mediterranean Sea. While the zones and their boundaries aren’t indicated by obvious signage, and I caught one laughable categorization (Ansel Adams’ photographs of the Pacific shoreline landing in the Atlantic section), this schema at least doesn’t get in the way.

And what does work about the propositional structure is its comprehensive realignment. It moves to retire art historical frameworks of the past, dependent on borders between places and times.

Throughout this installation, we are repeatedly reminded of the impact of trade and migration, the fluid movement of resources and belief systems. We’re reminded of porousness and simultaneity, and that all art histories are, in the end, propositional structures.

Here’s a new one, the Geffen Galleries say. Try it out. You might get lost. Indeed, you will get lost. And what wonders await you in the uncertainty and mystery.

Moorpark athletic director Rob Dearborn officially has a new title: president elect of the Southern Section.

The Southern Section Council elected him on Thursday. He will serve as president elect under the new president, Alexis Barile, the former principal at Corona Centennial, for 2026-27 and 2027-28 before taking over a two-year term.

Dearborn, 62, a former track and football coach, is in his 40th year participating in high school sports. He started out at Newbury Park before moving to Moorpark. He directs the Southern Section track and field championships at Moorpark. His wife, Denise, ran track at UCLA.

Asked if his wife will now salute him, Dearborn said, “No, I still salute her.”

It’s a two-year term to preside over Southern Section Council meetings.

“I grew up with Southern Section sports that have been a big part of my life,” he said. “It’s exciting.”

His son is football coach at Moorpark.

This is a daily look at the positive happenings in high school sports. To submit any news, please email eric.sondheimer@latimes.com.