We’ve written extensively on W.E. about the state of art and the Art World. Generally, this is not a happy description, so naturally we’re interested in new initiatives in the space that spark optimism.

Market Gallery is a recent one. Founded by Adam Zhu, who has been fixture in the New York scene for over a decade now, Market is an independent art gallery located in a shed on the roof of Zhu’s building. Shed is perhaps derogatory; it’s a small room, recently renovated, well lit, white-walled, and equipped of all of the necessary elements to incubate aesthetic experiences.

Market has already hosted a number of buzzy openings, and recently opened a show by Amanda Ba, in addition to curating a group show (which featured the likes of Dash Snow) in the old Off-White store on Mercer. As the project grows, it looks more and more like something the Art World needs. Fully independent, not reliant on sales or funding streams, a space that curates art, not capital.

Zhu’s ability to leverage the his creative network to land big shows means Market is not like other garage galleries, of which there are many. Zhu told us that he wants to allow established artists to show work they couldn’t in blue chip spaces. Ba’s paintings are a prime example, a departure from her usual work, likely not commercial enough to show at a major gallery.

Coming off of these two major shows, we spoke to Zhu about Market’s origins, evolution, goals, why art isn’t dying, and much more. Read on.

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Welcome: What’s Market Gallery’s story?

Adam Zhu: I never thought, “My goal is to start a gallery.” The question was: what do I do with this shed? I've lived here in Chinatown for 10 years. My shed has always been used as a creative space. Most recently it was used as a jazz studio for Onyx Collective. When Onyx stopped using it, it quickly deteriorated into an unusable, moldy junk room.

I didn’t know what to do with it. I was at this crossroads. In my personal life and work, I was feeling stagnant and wanted to resist the general pessimism around the downtown scene due to changes and gentrification, by creating my own. Something for my community and I to invest our time and energy into that felt like ours. I wanted to feel part of something larger than myself.

It was like, either I destroy the shed and wipe my hands clean or go all in and make a proper investment into this space that would last and serve a purpose at the intersection of the things I like to do: creating, art, community. Since then, it's snowballed into what it's become: a space that fosters our creativity and helps cultivate our scene.

Welcome: Tell me more about your personal background. How did you get involved in the New York creative scene?

Adam Zhu: I was born and raised here in New York. I grew up in the East Village on 12th Street. Getting into skateboarding introduced me to the downtown scene. I was always into music and art but a big part of being exposed to a larger New York scene outside of the skateboarding community was my friends Wiki and Hak who had a band called Ratking. They were at the forefront of the intersection of hip-hop, graffiti, skating, art, and introduced me to a broader New York scene which encompassed all those broader interests and subcultures. Being involved with and working at Supreme also played a role in all of that.

W: You were curating shows before Market. What about that curatorial role appeals to you? What’s your approach?

A Z: I curated a bunch of group shows when I was younger in various spaces whenever the opportunity arose—vacant storefronts, somebody's studio, small galleries. I did one in Spencer Sweeney's studio, Aurel Schmidt’s gallery “Romeo”, Leo Fitzpatrick's gallery “Public Access”. I always enjoyed doing that. I didn’t necessarily aspire to enter the “Art World”. It wasn’t my goal to be a gallerist, a curator for a blue chip gallery. My desire is to build a community. I’ve always believed in allowing this aggregate creative motion to lead the way for young people.

At my earlier shows, I’d have performances. At one of the earliest shows Pretty Sick performed, Onyx Collective performed, Wiki performed, Dev Hynes, Show Me the Body. I’ve always tried to create space and curation that showcases the intersections of the subcultures I'm part of, that inspire me. But the evolution of my curation at Market Gallery is that now I'm doing solo shows. It’s small. I don’t need a thousand people showing up. I prefer something tighter and really invest in my relationship with each artist, how they’re displayed, understanding their work, being more involved in the curatorial process.

What about that single artist format do you like?

As much as I admire a group show—and I have a big group show coming up because I have an opportunity to use a space—I got a little turned off. I think a lot of people were doing these group shows in a way that wasn't respecting the art. I participated in a few that felt more like a party. Maybe it's promoting a platform more than doing justice to the artists, or literally promoting a real estate agenda. I've seen all of that. So I decided to hone in on a curatorial practice that feels more elevated, but on my own terms.

It’s interesting you mentioned the focus on the art itself rather than the fanfare or spectacle. What do you think the purpose of the gallery should be?

We can get jaded by the arbitrary nature of the art world, how gatekept it is, how much it can revolve around money. So for me, it's about decentering that and coming back into a DIY space. Part of that is allowing more established artists to show work their gallery might pressure them not to. The show we have with Amanda Ba—she's quite established, shown in big galleries—but she's showing a completely different side of her paintings. Personal paintings that are far from her big, photorealistic surrealist work. That’s what I’m trying to do, whether you’re emerging or established. This is a space not run on money. I’m not an art dealer. I guess I’m a gallerist, but I’m not really.

What do you look for in the art you bring into the space?

What’s exciting is every artist approaches the space differently. A big part of it is being no-pressure and experimental. You can show something that isn’t sellable. It doesn’t have to be wall art. It can be an installation, anything. For the last show, Tucker van der Wyden built an entire drywall in front of the back wall to embed a TV screen. People have hung stuff in the stairwell. There’s a big graffiti wall that’s been painted over for years, and people have used that as part of their installation.

What kind of artists do you look to bring in?

It’s interesting because it’s my home. Anybody I bring in, I’m inviting into my personal space. Right now, I have such a large creative community I’m trying to serve. For the most part, I’ve handpicked artists I have a direct connection to. As it grows, that might change. But right now, there’s a long list of people within or adjacent to my community I’m interested in showing.

In the conventional art world we’re seeing a lot of galleries rebranding as studios, spaces, or projects. The gallery model seems to be shifting into vibe-based, less structured spaces. Do you have any thoughts on this trend of galleries becoming other kinds of spaces?

I consider myself more of an outsider to the art establishment. People more in the know have told me how on-trend this is, how art establishments are gravitating toward spaces like this. I’ve also seen more established artists gravitating to spaces like this. That trend can come off as contrived, like any corporation touting “community.” Whether it’s real or not, it’s case by case. But the general trend is people realizing these spaces need community, need substance, rather than just sales.

Do you see your project as trying to refocus on aesthetic experiences and art itself?

To see the art you have to walk through my apartment. It’s intimate. You’re in my space, on my roof. I’m probably grilling or something. So, the experience is important. But that said, the actual shed is a perfect gallery space. I’m not trying to change the way people look at art. The gallery itself is contrasted with the graffiti-covered roof, but when you actually experience the art, it’s in a more traditional gallery space: it’s a white box with good lighting.

Perhaps that’s invigorating to the aesthetic experience.

Exactly. It’s much less pretentious here, but it still respects the artwork. When you show up here, Jesus, the guy who lives downstairs, is ushering you to the side door. Most people show up at my front door, peek in like, “What the fuck? I must be in the wrong place.” And I have to say, “Yeah, this is it. Come in, welcome, come this way.” But then when you step onto the roof, you’re like, “Oh, there’s a real gallery here.” It’s not just some makeshift situation.

Market Gallery caters to a younger demographic that’s just entering the art market. What have you noticed about how young millennials or Gen Z interact with art?

It’s definitely changing. One of the more impactful openings we had was Tucker—video, sound, installation—an experience. Young people are able to engage with an experience. This middle ground between experience and gallery gives them a space to feel like they belong. Young people who love art feel out of place at blue chip galleries. It’s hard to find that middle ground. And yeah, as attitudes shift, the whole art establishment seems to be in a panic. People tell me about it, and I’m just like, I don’t fucking know. I just know what I’m doing here.

Do you ever think about the state of art in contemporary culture generally?

Yeah, for sure. It’s shifting. We’re seeing a lot of bubbles burst. Art establishments are panicking because the old guard isn’t holding up—young artists, sales, everything’s in turmoil. I think we’ll see a return to more grassroots things, like what I’m doing here. Even established artists are gravitating toward things with meaning, substance, community.

Are you optimistic about the future of art? Do you feel good art is being made?

I think that’s part of the ethos here. Waves in the art world go up and down like a recession. I don’t think we’re trying to be part of that. The “art is dying” thing is money talk. People say that because certain valuations plummeted. Art will always be present, especially during turmoil. I do feel optimistic about the art being created. We're just focusing on that.

Tell me more about the group show you’re throwing.

The group show is in a vacant retail space, 51 Mercer Street—formerly the Off-White store. I’m working on it with my friends Andrew Kass and Jack Irv. Jack has access to the space. Andrew built the shed, so we work closely. I’m curating. It’s like the big group shows I used to do—we have this opportunity, and the space is elevated: white walls, concrete floors. It’s snowballed into a generational show—we’ve got Renee Ricard, Dash Snow, and then artists I’ve shown here and other emerging artists. It’s a generational New York show with connections across different scenes. Supreme is supporting it.

Do you want to keep growing Market Gallery to include events outside the shed?

For sure. I don’t know if I’d open a storefront gallery, but I definitely want to curate shows internationally—other places, other spaces.

A year, five years, ten years down the line—what’s your goal for Market? Where do you want to take it?

It’s an interesting question. I’m not totally sure. Part of the spirit is being outside the art establishment. I see it growing, doing exhibitions, curating in other places. I’m excited to see how it snowballs into working with other artists and opportunities. But I don’t necessarily envision opening a huge storefront gallery. There’s a possibility it exists as a project that comes to an end, or transitions into something else. If it stops being fun or loses its spirit, it would end. Or turn into something else.

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