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“I was just getting revved up,” Greiche said. Leila Greiche, founder of the gallery L’Inconnue, found herself in a similar holding pattern when attempting to set up her new space in New York in early 2020 after operating in Montreal for years. Their perseverance has paid off, though, with well-received shows of Cuban artists-such as William Acosta, Dionnys Matos, and Yamilys Brito Jorge-and acquisitions by high-profile clients, including the Bank of America Collection.

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“It felt like we were in a holding pattern during lockdown, but we never considered throwing in the towel.” Instead, Thomas and Nickles set up TVs in the windows of the space to display work by the artist Alejandra Glez while they waited for the all clear to continue their build-out, and eventually opened their space in late summer 2020.

“You can imagine the disappointment as one thing after another was shutting down,” Thomas said. The pair, who had put on pop-ups and trunk shows across the city for years, had secured a lease for their first brick-and-mortar space, and were about to start renovations when the city handed down orders to shelter in place. When New York City entered lockdown in March 2020, Kristen Thomas and John Nickles, owners of Thomas Nickles Project, were in the middle of planning the debut show at their new gallery on Orchard Street.

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The challenges-and successes-of these new galleries are full of their own contradictions, and illustrate how gallerists might grapple with the long tail of the pandemic. Chaos and hope, “new normal” and business as usual-these were the poles that art seemed to be perpetually moving between.īut amid this oft-recounted era of seismic uncertainty, a number of galleries opened, finding a fertile new beginning, with cratered rents and upended expectations providing the perfect opportunity to launch new spaces. The large-scale contradictions at the height of COVID-19-streets ghost-town quiet and roiling with discontent, feelings of staggering loss and numbing stasis-were reflected in the smaller-scale instability of the art world, full of mournful doomsaying and mass furloughs, as well as strained optimism and demands for a democratized future.

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