The art world has changed forever. But New York galleries still rule
Jennifer Packer, Blessed Are Those Who Mourn , 2020, on view at the Whitney. Photo-Illustration: Vulture; Photograph by Filip Wolak Somehow, New York galleries — places where art can be seen for free, often run by one or two people on tiny margins — had a tremendous year of exhibitions. When galleries shut down at the beginning of the pandemic, many, including me, surmised most of these spaces wouldn’t survive. I was wrong. Almost all did.
The art world we left in early 2020 is not exactly the one we find ourselves in now: The biggest change is that this super-wealth and hyper-activity is cloaked now as a social concern. Heady curators travel the world “discovering” unknown artists everywhere, while ignoring the artists in their own backyards. Some choose to only show overlooked and dead artists, making it impossible for critics to criticize these efforts without seeming churlish, or worse.
Against the financial odds, smaller and mid-sized New York galleries — the kinds of spaces the sun can set on, the kind without locations around the globe — did amazing shows. They stayed flexible, charismatic, and fun. To lifers like me, galleries didn’t seem as crowded. But everyone you saw there seemed eager to talk, passionate about seeing art again in the flesh, grateful to be there at all. All this made the art world feel smaller, not bigger.
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