Five years after establishing his gallery in a tenth-floor Chelsea space in 2011, Greenan relocated to street level on the same block. \u201cBut I realised that I didn\u2019t want to feel like I\u2019m at a trade show every day,\u201d he says. The cast-iron fa\u00e7ade, landmarked buildings at 10 and 25 Greene Street, which are being renovated by Stuart Basseches Architect and Konstantinos Spiropoulos, resonate with the dealer\u2019s desire to recontextualise post-war American art close to its source.<\/p>\n
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Rosalyn Drexler, The Dream, 1963 Courtesy Garth Greenan Gallery, New York.<\/p>\n
\u201cUnfortunately, a lot of the art shown in Soho isn\u2019t deserving or representative of the neighbourhood\u2019s importance in art history,\u201d Greenan says. \u201cI want the neighbourhood to have a reputation for where things are currently happening, not only where they used to happen.\u201d<\/p>\n
Soho magnet<\/p>\n
The lore of Fluxus, Minimalism, soaring lofts and the artists\u2019 communities of the past also attracts newcomers to Soho\u2019s cobblestoned streets. Take, for example, Ben Ward Gallery, a new venture opening on 17 September on the second floor of 76 Wooster Street. The gallery\u2019s namesake founder says he settled on a historically charged block not far from where Donald Judd lived and FOOD operated in 1970s to \u201cdemonstrate to collectors and institutions how the concerns of early-career artists align with and diverge from the art historical canon\u201d.<\/p>\n
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Pastoral golden age (with fire brigade) (2026), by Titus McBeath, part of Ben Ward Gallery’s Speaking in Tongues show<\/p>\n
Courtesy of Ben Ward Gallery and the artist<\/p>\n
The 26-year-old dealer\u2019s debut will be Speaking in Tongues, a solo show of Titus McBeath\u2019s paintings adorned with found objects inspired by his Midwestern upbringing and the region\u2019s affiliation with craft and family heirlooms. Ward says the artist\u2019s \u201calmost anti-Pop\u201d practice and the gallery share an interest in an art historical canon that \u201cshifts the focus from\u00a0the spectacle of mass production to the intimate lives these objects acquire once they enter homes, collections and family histories\u201d.<\/p>\n
Another Soho newcomer, the Chelsea-based contemporary design gallery Ateliers Courbet<\/a>, is expanding to 53 Crosby Street, where it will operate a multifunctional space dedicated to craft production, public programming and artist residencies. The founder Melanie Courbet spent a few years searching for the \u201cright space to house a more personal expression of the gallery ethos\u201d. She will inaugurate the fruits of that search on 19 September with a presentation dedicated to the Tokyo-based studio AtMa. The studio\u2019s sculptural J39.5 chairs will be displayed in an intimate setting that benefits from the space\u2019s other function as a home. Courbet says the \u201cpersonal\u201d expansion is \u201ctuned to the mood of the moment in which a lot of colleagues are moving their programmes toward hybrid, personal spaces offering collectors more engaging and inspiring experiences of the work\u201d.<\/p>\n While Soho’s stock is rising, there are still gallery spaces to be found in Tribeca. Longtime Lower East Side gallery 56 Henry<\/a> has moved across town, to 46 Walker Street, and taken its indefatigable founder’s name as it rebrands to Ellie Rines Gallery. Its inaugural show in the new nabe features sculptures by Christopher K. Ho (until 23 October). A wholly new Tribeca gallery, aptly named First Year Contemporary<\/a>, launched at 368 Broadway with a solo exhibition by Chelsey Pettyjohn (until 24 October).<\/p>\n Chelsea\u2019s enduring appeal<\/p>\n Despite Soho and Tribeca trending, Chelsea\u2019s appeal endures, as evidenced by two incoming galleries. The dealer Victoria Mouraux Durand-Ruel is opening her namesake gallery<\/a> at 555 West 25th Street with an exhibition of the storied French photographer Lucien Clergue (22 September-17 October). She considers the neighbourhood the \u201cobvious choice since it\u2019s where the contemporary gallery community is today\u201d.<\/p>\n A descendant of the famed Parisian dealer Paul Durand-Ruel, who was instrumental in championing the Impressionists, the 28-year-old Mouraux Durand-Ruel believes the moment is \u201cright to build something that reflects my own generation while being shaped by both my experience and my family’s history in the art world\u201d. Clergue\u2019s black-and-white photographs of nudes shot on the beaches of southern France and portraits of Pablo Picasso in his later years in Provence reflect the dealer\u2019s aim to \u201cbridge Europe and the United States, presenting both historical and contemporary artists in conversation with one another\u201d.<\/p>\n Agil Abdullayev’s Pretties from South Caucasus II (2024) features in a group exhibition that marks Gazelli Art House’s US expansion<\/p>\n Courtesy of Gazelli Art House and the artist<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2026\/09\/7f12c02871485e6595abb4cae0ffba5e2c0a646c-642x720.jpg\"\/)
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