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New York Times - various issues
SoHo Weekly News - various issues
Village Voice - various issues
New York Magazine - 1968 to 2012
New Yorker - various issues
L Magazine various issues
Brooklyn Rail - various issues
Art In America - various issues
Art Forum - various issues
291 - 1915 to 1916
American Art - 1991-2010
Smithsonian Studies in American Art - 1987 to 1990
American Art Journal - 1964 to 2000
The Aldine - 1871 to 1879
American Art Illustrated - 1886
The American Art Review - 1879 to 1881
Art and Progress - 1909 to 1915
The Art Amateur - 1879 to 1891
Art & Life - 1919 to 1920
The Art Bulletin- 1919 to 2008
The Art Critic - 1893 to 1894
Parnassus - 1929 to 1941
The Art Review - 1870 to 1871
The Art World - 1916 to 1918
BOMB - 1998 to 2009
The Collector - 1891 to 1892
The Collector and Art Critic - 1899 to 1907
The Crayon - 1855 to 1861
The Illustrated Magazine of Art - 1854
Blouin Gallery Guide
Lower East Side BID Gallery Guide
Upper East Side BID Gallery Listing
Chelsea Gallery Guide


“From Manet To Manhattan”, Peter Watson
Random House Publishing Group; 1992

“The Art Dealers”, Laura De Coppet, Alan Jones
Cooper Square Press; 2002

“EastVillage 86 : A Guide. A Documentary”, Judy Cantor, Peter Bach
Egret Publications; January 1986

“Tales From The Art Crypt”, Richard Feigen
Alfred A. Knopf; First Edition edition June 20, 2000

“Creative Time: The Book”, FORWORD BY Anne Pasternak, PREFACE BY Lucy Lippard
2006 Princeton Architectural Review Press

“SoHo: The Rise and Fall of an Artists’ Colony”; Richard Kostelantetz; 2003 Routledge

“Alternative Histories
New York Art Spaces, 1960-2010”; Edited by Lauren Rosati and Mary Anne Staniszewski; 2011 The MIT Press

“Locus : a cross-referenced directory of New York galleries and art sources with their
current stables of artists and art, the place to find everybody's work”; by Cheryl Filsinger;
4 editions published between 1975 and 1996; Filsinger, New York

“Locus : 1977-1978 Update”; by Cheryl Filsinger;
Filsinger, New York

“Locus : 1984 Update”; by Cheryl Filsinger;
Filsinger, New York

“Locus : 1992 Update”; by Cheryl Filsinger;
Filsinger, New York

"Art On The Block"; by Anne Fensterstock;
Palgrave Macmillian, New York. 2013


“Contemporary Art: A 'Global' and Local Perspective via New York's Chelsea”;
David Halle, Elizabeth Sho; District
2007, UC Los Angeles, On-Line Working Paper Series, California Center for Population

“Lessons from Chelsea A Study in Contemporary Art”; David Halle, Elizabeth Sho; 2005/2006 INTERNATIONAL

“Changing Art: SoHo, Chelsea and the Dynamic Geography of Galleries in New York City”;
Harvey Molotoch and Mark Treskom; 2009International Journal of Urban and Regional

“Networked Collectivities: North American Artists’ Groups, 1968–1978”; Kirsten Fleur
Olds; 2009 The University of Michigan


Archives of American Art; aaa.si.edu
various web sites


New York Public Library
New York Historical Society
NY Department of State; Divisions of Corporations, State Records & UCC


Field work
Artists’ Resumes
About Galleries of New York

An art gallery is defined here as the interaction between the curatorial program of the gallery (the work shown or performed) and the characteristics of the underlying real estate (the size, surface area, configuration, location and rent). Usually when dealers change locations, they are either searching for larger space, space in a better location, or fleeing higher rents (the last two often resulting in downsizing). Whatever the reason, each new space will impact the exhibitions that the dealer will show there.

This then is a record of physical and virtual exhibition spaces, not individual art dealers. It shows all spaces that have functioned as galleries whether occupied by one dealer or several different dealers. For the most part, individual dealers are listed in the pull-down menu under Search By Gallery, above.

If a dealer started a new collaboration with another dealer at the same address, and the curated program has changed as a result of the collaboration (usually reflected in a name change for the gallery), it is counted as a new "gallery" at the same address.

The yellow area-graphs display all gallery spaces within a district that were open during the years indicated. During the Current Year - the latest year shown - fewer galleries may be displayed than the Previous Year, even though there may not have been a net-loss of galleries in that district from the Previous Year. This is because it counts gallery spaces that are or have been open that year but may have closed during the Current Year. Past years accurately count all gallery spaces that were open during those years, whether by the same dealer in multiple locations or by different dealers.

For example: the gallery count may be higher in the Previous Year if a dealer closed one space and opened another nearby in the same year (counting both spaces as two unique galleries). But in the Current Year, it will only count the gallery space currently occupied by that dealer, so the total will be less than the previous year when they moved. When galleries have actually closed that year, it is indicated in the gallery list with the year it closed (will not be shown as OPEN).

The number of galleries that are currently OPEN are shown in the lower blue bar-graph on the home page by Gallery District. The difference between this number and the one shown in the Current Year on the yellow area-graphs is an indication of the general stability of the industry that year.

Naming conventions: The districts shown above are named according to their time and context; the same geographic area in one time period is often called something else during another, or functioned differently during different periods though they occupy the same geographic area in the city. For simplicity the term “galleries” encompasses all such institutions that have exhibited or performed art in some manner.

Earl Bateman began this project in 2007 to better understand the gallery industry as it has evolved over time, and the dynamics that have shaped it. After getting his BFA from the Hartford Art School, Earl exhibited as a painter; was a 3-time Emmy award-winning broadcast designer, creative director, and SFX supervisor for over two decades; served as an adjunct professor at the School of Visual Arts (MFA/CA); directed a gallery; and currently advises galleries in all aspects of their real estate transactions as a commercial real estate broker, providing full-service real estate representation for the Arts. Contact Earl anytime.

Daine Coppola is an independent curator who’s goal as a curator is to create visceral experiences that inspire imagination without insulting intellect. He gravitates toward work that is accessible to the audience and contributes clearly to the themes of his shows.

Daine's sensibility and vision as a curator has contributed to this record of galleries, their represented artists and the exhibitions and shows they have mounted over time. Contact Daine anytime.

Adam Rosovsky and his firm, Impact Integration, are the developers behind this project. They have separate departments for each of their services, from planning, design, development, to marketing. Representatives from all of departments work together to ensure the success of the project. They have a very personal approach to customer relationships. Contact Adam anytime.


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