IT'S ALMOST ALWAYS a bad idea to meet your heroes. No matter what variety of fan you are — there are two kinds: those who innocently hang posters on the wall and those for whom the idol's life and work has been permanently absorbed into the bloodstream — meeting an object of devotion comes with a terrible risk. Having elevated them to a level where there's barely any oxygen left, they have no place to go but down.

In a stroke of extraordinary luck, this turned out to be unnecessary. Under a patio heat lamp at a quiet West Hollywood restaurant, Mitchell and I had a long and animated conversation about art, music, poetry, politics, insecurity, narcissism, boys, dogs, cats and other matters. Then we hugged.

This has made me very happy for the last five days. It also has made it nearly impossible to write this column, which was not supposed to be about my devotion to Joni Mitchell but about a new exhibit of her artwork in L.A. (It's called "Green Flag Song," and it's showing at the Lev Moross Gallery.)

She hadn't wanted to do any publicity, which is why, like many people, I only learned about the show when I noticed the banner hanging outside the gallery on La Brea Avenue. I assumed it would be paintings — Mitchell has long been a painter and attended art school before she began her professional music career. But what I found when I walked into the gallery were 60 large photographic triptychs.

Moross, the gallery owner, explained the artwork to me: When Mitchell's television set broke a while ago, it began emitting images that looked like photographic negatives with a green tint. She took photos of the screen, which resulted in dark, jarring, semiabstract images that he enlarged and printed on canvas. He also said that they had many arguments in the process, but she always turned out to be right. Then he said he was having dinner with her soon and that I should come (note to self: never, ever complain about being a newspaper columnist again).

Poor Moross was rendered speechless throughout much of the meal as I asked Mitchell totally geeked-out questions about specific lines from "Mingus" (jazz, 1979, generally underappreciated by lesser fans.) Still, we managed to talk quite a bit about the artwork, which Mitchell characterized as "riding the cusp of photography, impressionism and expressionism."