When did you start your gallery?

I originally opened No Gallery in mid-2019 in Los Angeles, California. I ran it for about a year, but then had to close the physical space due to the pandemic. After closing the space, I organised several bicoastal pop-ups in Los Angeles and New York City at short term spaces. Eventually, I made the decision to return to New York City full time. After locating a small space in Chinatown on Henry Street, I reopened No Gallery at our current location in the summer of 2021. Our inaugural exhibition in the new space featured a solo show with Genesis Breyer P-Orridge. When I was in LA our exhibition programming felt a bit all over the place. Since reopening, things just keep getting more and more focused.

So what about the Los Angeles project? Is it over and done?

Unfortunately, our space in Los Angeles had to close its doors in 2020. It’s a shame because I put a lot of love into that gallery build out. My vision for No Gallery is better suited in New York City for the time being.

What’s your strategy? Are you aiming for less commercial and more experimental art?

No gallery operates as a commercial art gallery we humorously identify as an ambiguously commercial gallery. Since moving to NYC, my curatorial strategy has evolved to be more reactionary to the exhibition trends I am able to identify. I try to find languages and conversations that are not being had and artists that are akin to this vision. I typically have gravitated towards transgressive art but lately I’ve been challenging that inclination.

You work with many emerging artists. How do you choose them? What’s your curatorial strategy?

I don’t have a fixed formula for selecting artists to collaborate with. I tend to work slowly with developing these relationships. Most of the relationships I have with artists developed over the course of one to two years from when we first meet. Some even longer. I really like to get to know them to ensure that we can work together. Ultimately the relationship begins with me liking the work they are making.

As mentioned earlier, My curatorial strategy is reactionary to current trends I Identify. I have been seeing a lot of illustration based painting shows so our 2024 programming is focusing less on traditional paintings and more on sculptural and conceptually based works.

Given the success of last year, what’s your future vision for participating in art fairs?

It was necessary for No Gallery to start participating in art fairs to expand our collector base outside of downtown New York City. I view involvement in an art fair like a typical business would view advertising in a magazine. We hope to start branching outside of the United States and more into Europe in 2025.