» Newsletter

Join our newsletter to receive information about upcoming Storefront events.

» Search

Storefront for Art and Architecture

97 Kenmare Street

New York, NY 10012

Tel. 212.431.5795



Tues. – Sat. 11:00AM – 6:00PM

Closed Sunday and Monday

The Architects

Tuesday March 31, 2015

The Architects
Amie Siegel, 'The Architects,' 2014 HD video, color, sound. Commissioned by Storefront for Art and Architecture as part of OfficeUS. Image courtesy of the artist.

The Architects

Amie Siegel 

April 1st - May 19th, 2015

Opening Reception: March 31st, 2015 at 7 PM

Commissioned by Storefront for Art and Architecture as part of Office US


The stories of architects have historically been portrayed and understood through singular figures and monographic narratives. However, the human and logistical edifices behind each of these individual figures is oftentimes less singular and more homogenous than usually depicted. What is the portrait of the collective body of architects building globally today?


On March 31st, 2015, Storefront for Art and Architecture will host an exhibition featuring The Architects, a film by artist Amie Siegel originally commissioned by Storefront as part of OfficeUS, the United States Pavilion at the 2014 Venice Biennale of Architecture. The Architects examines and analyzes the drivers, protocols, and implications of architectural production in an era marked by globalizing forces. The film embodies the efforts made by OfficeUS towards the understanding of practice and accountability within architecture.


The Architects cuts transversally through the city of New York, producing a continuous image of the global architecture office today. Moving through several architecture studios—from Fifth Avenue to Downtown to Brooklyn—the film depicts the operational territories and landscapes of worldwide architectural production from New York. As a singular unfolding visual, the film deploys silent conversations among the architectures, locations, objects and characters that inhabit its frames, raising questions of scale, agency, and power.


Parallel tracking shots through the working offices chart their typologies of sameness and difference, revealing reappearing elements of the spaces of architectural production: long horizontal desks, screens, renderings, and models. The film frames a wide spectrum of practices, from large firms to smaller studios in a collective new whole. It positions itself from a vantage point that places the lens of the camera between the spaces of production and the world, which is always, and only, just outside the window.


The Architects was made possible through the generous support of Storefront's Board of Directors and Elise Jaffe + Jeffrey Brown.


Ranging from photographs, video, film installations, performance and feature films for the cinema, American artist Amie Siegel's work has been exhibited in solo exhibitions including Amie Siegel: Provenance at The Metropolitan Museum of Art, New York, as well as solo and group exhibitions at MoMA/PS1, NY; MAXXI, Rome; Hayward Gallery, London; Whitney Museum of American Art, NY; Walker Art Center, MN; CCA Wattis, San Francisco; Kunstmuseum Stuttgart and KW Institute for Contemporary Art, Berlin. Her films have screened at the Cannes, Berlin, New York and Toronto Film Festivals, The Museum of Modern Art, New York and The National Gallery of Art, Washington, D.C. She has been a fellow of the DAAD Berliner-Künstlerprogramm, Guggenheim Foundation, and the recipient of a Sundance Institute Film Fund award and Berlin Film Festival award. 


Amie Siegel, The Architects, 2014, HD Video, color/sound

Producer: Andrew Fierberg

Co-Producer: Martina Klich

Production Manager: Tina Piccari

Cinematographer: Christine A. Maier

1st Assistant Camera: Bayley Sweitzer

Digital I Tech: Henry Prince

Sound Recordist: Timothy Wong

Key Grip: Mark Solomon

Grip: Dan Stenzel and Wil Hamlin

PA: Nir Bitton and Matthew Town

Color Correct and Conform: Post Republic, Berlin

Sound Mixer: Gisberg Smialek

Storefront for Art and Architecture: Eva Franch i Gilabert, Kara L. Meyer, Melissa Weisberg, eynep Goksel, Piotr Chizinski, Carlos Minguez Carrasco  

OfficeUS: Eva Franch i Gilabert, Ana Miljacki, Ashley Schafer

Special Thanks: Simon Preston Gallery, New York


About OfficeUS

As the commissioner of the 2014 United States Pavilion at the 14th Biennale of Architecture in Venice, Storefront for Art and Architecture presented OfficeUS, a global experiment in the making of architecture, history and work.  OfficeUS in Venice focused on the ways in which the space, structures, and protocols of the U.S. architectural office have participated in the construction of Modernity. OfficeUS was curated by Eva Franch, Anna Miljacki and Ashley Schafer with the support and collaboration of more than 300 individuals. To learn more go to   www.storefrontnews.org


OfficeUS is expanding to New York, and will serve as an active, global, experimental architecture institute. As an ongoing reimagination of the concept of the office, OfficeUS will revisit the history of architecture, its relationship to politics and power and the premises and conclusions of modern and contemporary projects, to construct an agenda for the future production of architecture today. To learn more please contact ny@officeus.org.


General support for Storefront’s exhibition and programs are made possible by Arup; F.J. Sciame Construction Co., Inc.; the Foundation for Contemporary Arts; The Greenwich Collection Ltd.; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; The Peter T. Joseph Foundation; and by Storefront’s Board of Directors, members, and individual donors.

Letters to the Mayor / Panama City

Thursday February 26, 2015

Letters to the Mayor / Panama City

Organized by JUNTA | Espacio de Arquitectura, Letters to the Mayor took place in Panama City just before the Mayoral ellections from February 26 to March 27 of 2015. 




Friday January 23, 2015 – Saturday March 21, 2015

Curated by Sebastiaan Bremer and Florian Idenburg & Jing Liu of SO – IL

BLUEPRINT, curated by Sebastiaan Bremer and Florian Idenburg & Jing Liu of SO-IL. Photo courtesy of Iwan Baan. Storefront for Art and Architecture.


January 24 - March 21, 2015

Opening Reception: January 23, 2015, 7pm

Curated by Sebastiaan Bremer and Florian Idenburg & Jing Liu of SO – IL



“Now, however long a time may pass, according to the eternal laws governing the combinations of this eternal play of repetition, all configurations that have previously existed on this earth must yet meet, attract, repulse, kiss, and corrupt each other again...” H. Heine 


"The origin, the place of departure, is a place only identifiable in a journey of return. As a fiction or a fact, the beginning of things, the source, that place of origination, has been a recurring concept in the development and construction of cultures throughout time. BLUEPRINT is an exhibition that asks individuals from the world of art and architecture to embark on a trip of self-reflection to identify a place of origination for their work in the literal and metaphorical form of a blueprint. 


Presented as an attempt to understand a series of artistic practices from the subjective to the collective, the exhibition can not only be seen as a collection of blueprints but also as a collection of anecdotes. 


As a curatorial metonym, the medium in BLUEPRINT works as frame, format and content. The 50 pieces, dating from 1961 to 2013, are presented as traces willing to bring clarity to a work, a practice and a context. Far from literal readings, there is a flickering nature to the works constantly drawing vectors outside of the gallery walls. Each blueprint is charged and punctuated with a double or triple temporality. Not complete in themselves, each of the pieces is relative to the point in time that the work was created, in relation to the trajectory of each one of the artists, and to the point in time the artist selected it as a blueprint of their past or contemporary work. The exhibition is filled with contradictions and paradoxes. 


The works are at once self-referential and representational, present and past. From early traces of sustainable thought in Jaime Lerner’s Maringá stadium to the cloud-cotton-rower of Vik Muniz to the Bikini Brawl by Dana Hoey exploring the concept of “female” to the angelical MOS diagram (presented at Storefront previously two years ago), all works participate in a diachronic fashion in the construction of multiple narratives, rarely overlapping in content or scope. 


While usually it is the role of the critic to identify the relevance of a work of art in relation to a trajectory or a historical moment, in this exhibition the curators, Sebastiaan Bramer, Florian Idenburg and Jing Liu as provocateurs or journalists, have asked the artists and architects to create a space of intimacy, to identify and create a space of legibility to let the viewer see behind the mind of the artists from where to start reading an entire body of work. Similarly to a televised intimate interview series, the exhibition is simultaneously serious and frivolous. 


With an installation by SO-IL, BLUEPRINT leaves the gallery totally open, yet perpetually closed and fixed. Wrapped in time and in space, the Acconci-Holl façade opens its doors permanently to the works that –while present in the show by reference– are outside the gallery walls. The space looses its literal operational transparency to become a white, translucent icon of its curatorial aspirations. Rendering everything on either side as a world of shadows, the installation denies the spatial properties and the implications of the processional exit of the platonic cave towards a world of truth.


In BLUEPRINT, the quest for truth takes you into two equally shadowed sides."

Eva Franch i Gilabert 



BLUEPRINT is on view from January 24st - March 21st. 

An opening reception took place on January 23rd, 7PM - 9PM.



Sebastiaan Bramer, Florian Idenburg and Jing Liu (SO-IL)



Florian Idenburg and Max Hart Nibbrig



Lee Ann Custer and Dana Kopel.


Based on the exhibition Blueprint (1998) curated by Sebastiaan Bremer and Pieter Woudt.



51N4E; Achim Menges; Adamo-Faiden; Alix Lambert; Barbara Visser, Blake Rayne; Bureau for Architecture and Design (BAD): Felix Monasakanian, Mohamed Sharif and Efren Soriano; Cameron Wu; chameckilerner (Andrea Lerner & Rosane Chamecki); Charlotte Dumas; Dana Hoey; Donald Baechler; Fred Tomaselli; Future Cities Lab / Jason Kelly Johnson + Nataly Gattegno; Gelitin; Gerben Mulder; Giancarlo Mazzanti; Go Hasegawa & Associates; Guy Richards Smit; Haas & Hahn; Iván Navarro; Jaime Lerner; Janaina Tschape; Jens Fänge; Jesser Reiser + Nanako Umemoto; Point Supreme: Joana Sá Lima, Marianna Rentzou, Konstantinos Pantazis; Johnston Marklee; Julian LaVerdiere; Jürgen Mayer H.; Laura Stein; Liza May Post; Marcos Rosales; Mariele Neudecker; MODU; MOS; OFFICE Kersten Geers David Van Severen in collaboration with Wonne Ickx; Pamela Fraser; Pascal Flammer; Paul Myoda; Paul Ramirez Jonas; Ricci Albenda; Richard Galpin; Richard Phillips; Robert Lazzarini; Sebastiaan Bremer; Serie Architects; SO – IL; Valeska Soares; Vik Muniz; Vito Acconci 



Geoff Han 




"BLUEPRINT at Storefront has its curatorial blueprint at a show Sebastiaan Bremer and Pieter Woudt put together in 1999 in a DIY gallery called Spark in Chelsea, New York. The show brought together a bunch of young artists, ambitious and broke, trying to find their voice and an audience for their work. The original Blueprint show was conceived foremost as an opportunity to present this group’ s work together as a whole. The only way to the work conceptually was, it seemed, to come up with a  theme or constraint – for instance, that all the works had to be the same color. Blueprints were easy to make, quite beautiful, and cheap – an advantage, since money was an issue. This ‘concept’ gave the structure for the exhibition, which ran for a few months in the gallery. Fifteen years later, this old idea seemed newly relevant. The funding for art institutions in Europe is drying up at the same rapid speed at which prices are soaring at the auction houses, giving the low cost of producing blueprints new relevance. In the meantime, many of the artists included in the original show have gone on to impressive careers, making wonderful works in incredibly diverse media and environments—and many of them started to find their signature styles around the turn of the century, the time of Blueprint. A second iteration of BLUEPRINT took place at Kunsthal KAdE in the Netherlands and at MOCA Tucson where many of the original BLUEPRINT artists—as well as some others, and architects were selected by Florian Idenburg and Jing Liu of SO-IL—to look back at their practice and identify one “fundamental” work: the first piece that could serve as a blueprint of their mature work. Again, this extended group was only bound by the same constraint, yet one might be able to discover a set of affinities between the works. The exhibition at Storefront is born out of the same constraints: blueprints of or based on that “generative” work."  


Sebastiaan Bremer, Florian Idenburg, Jing Liu.



Sebastiaan Bremer was born in Amsterdam, The Netherlands, in 1970. He attended the open studio program at the Vrije Academie in The Hague from 1989 until 1991. During his early years he meticulously reproduced personal photographs in paint. He received the Werkbeurs Grant from FBKVB in Holland and moved to New York in 1992, where he began to work primarily in black and white, reemphasizing his connection to photography. In 1994 he had his first solo show at Galerie Reisel, Holland, and began exhibiting in as well as curating group shows. He was assistant to several artists in New York, and worked on production for the photographers Inez van Lamsweerde and Vinoodh Matadin from 1996 until 2000. In 1998 he produced Liza May Post’s film and photograph ”Trying”. In that same year he attended the Skowhegan School of Painting and Sculpture in Maine, where he began experimenting with murals, collage paintings, and drawing directly on photographs, the style which he continues to use today. In 1999 he finished his first large scale ink on C-print drawing entitled 10 AM-PM. In 2001 he had his solo debut, ”Veronica”, at Roebling Hall, New York. Bremer’s work is part of several important collections in the US and abroad, including the Victoria & Albert Museum, London; Museum of Modern Art, New York; Los Angeles County Museum of Art; The Zabludowicz Trust, London; The Rabobank collection, The Netherlands; AKZO Nobel collection, The Netherlands; Lodeveans Contemporary LLP, London; and the Berger Collection, Zurich. Sebastiaan Bremer’s artwork has been exhibited at the Tate Modern, London; the Brooklyn Museum of Art; The Aldrich Museum, Connecticut; MoMA PS1, New York; and at Het Gemeentemuseum, The Hague. He has had solo exhibitions at Air de Paris; Galerie Barbara Thumm, Berlin; Roebling Hall, New York; James Fuentes, New York; BravinLee Programs, New York; Hales Gallery, London; Mia Sundberg Galleri, Stockholm; Edwynn Houk Gallery, New York and Zurich; and Het Gemeentemuseum, The Hague. He was an artist in residence at Het Vijfde Seizoen in the Netherlands in 2009. Bremer has been a visiting artist and guest lecturer at Virginia Commonwealth University in Richmond, Virginia; Cooper Union, New York; The Royal Danish Academy of Fine Arts, Copenhagen; the University of Vermont; and the School of Visual Arts, New York City.


Florian Idenburg (1975, the Netherlands) is Founding Partner of SO–IL and Associate Professor in Practice of Architecture at Harvard’s Graduate School of Design. He is the 2010 laureate of the Charlotte Köhler Prize and a 2014 finalist for the Prix de Rome in the Netherlands.


Jing Liu is Founding Partner of SO–IL. A native of China, Liu received her education in China, Japan, the United Kingdom and the United States, concluding with a Master of Architecture from Tulane University School of Architecture in New Orleans. Liu worked at New York based Kohn Pedersen Fox and Starwood prior to founding SO–IL. Liu is currently teaching at Columbia University’s GSAPP and faculty at Parsons The New School for Design.

SO–IL  is an idea-driven design office that brings together extensive experience from the fields of architecture, academia, and the arts. A creative catalyst involved in all scales and stages of the architectural process, SO–IL approaches projects with an intellectual and artistic rigor fueled by a strong commitment to realizing ideas in the world. SO–IL is lead by partners Florian Idenburg, Jing Liu and Ilias Papageorgiou. Read more.

Geoff Han is an independent graphic designer and educator working in the cultural field. He received an MFA in Graphic Design from Yale University in 2006. Recent clients include: Gavin Brown’s Enterprise, Goethe Institut New York, New Art Dealers Alliance (NADA), Reena Spaulings Fine Art, SO–IL and Stedelijk Museum Amsterdam. He is a member of common room and was Founding Graphic Designer of PIN–UP magazine. He is Adjunct Professor at Parsons The New School and has been a critic at schools including Columbia University, Gerrit Rietveld Academie, Typography Summer School, Werkplaats Typographie and Yale University.




BLUEPRINT is supported as part of the Dutch Culture USA program by the Consulate General of the Netherlands in New York. Facade construction by Atlantic Shrink Wrapping Inc. (ASI). Materials donated by Dr. Shrink.  

General support for Storefront’s exhibition and programs are made possible by Arup; F.J. Sciame Construction Co., Inc.; the Foundation for Contemporary Arts; The Greenwich Collection Ltd.; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; The Peter T. Joseph Foundation; and by its Board of Directors, members and by individuals.



Situation NY

Saturday October 4, 2014 – Saturday December 20, 2014

an installation by Jana Winderen and Marc Fornes

Situation NY
Installation image. Jana Winderen and Marc Fornes/THEVERYMANY, Situation NY, 2014. Photo courtesy of Miguel de Guzmán. imagensubliminal.com

Situation NY

October 4 - December 20, 2014

Opening Reception: October 3, 2014, 7pm

An installation designed by Jana Winderen and Marc Fornes / THEVERYMANY

On the occasion of the launch of the World Wide Storefront / wwstorefront.org /


Reflecting on the contemporary conditions emerging between the digital and the physical realms, the collaboration of Winderen and Fornes collapsed sound, light and form in an object with intrinsic sensorial behaviors, inviting visitors to question the properties of matter and the built environment surrounding us. The installation was a vibrating sound experiment that aimed to transform the architecture into an animated sensible form. Conceived as a sound object that absorbed and contrasted the site specificity of the Storefront Gallery with abstract, spatial, formal and acoustic variations and compositions, Situation NY raiseed questions about context, sensorial readings, estrangement and the uncanny tangentially resonating with contemporary debates around the ontology of objects.



Design by Jana Winderen and Marc Fornes / THEVERYMANY

Fabrication by



Commissioned by 

Storefront for Art and Architecture


With the support of 

Robert Rauschenberg Foundation


About the artists:


Jana Winderen is an artist educated in Fine Art at Goldsmiths College in London, and with a background in mathematics, chemistry and fish ecology from the University in Oslo. Jana's work consists of researching hidden depths with the latest technology and her work reveals the complexity and strangeness of the unseen world beneath. Jana is artist-in-residence at the TBA21 Academy and releases her audio-visual works on Touch. In 2011 she won the Golden Nica, Ars Electronica, for Digital Musics & Sound Art. Amongst her activities are immersive multi-channel installations and concerts and has performed all over the world. She currently lives and works in Oslo.   www.janawinderen.com


Marc Fornes is an architect founder and principal of the THEVERYMANY a multi-disciplinary studio practicing architecture through systematic research and development into applied Computer Science and Digital Fabrication. His prototypical structures and organic environments are part of the permanent collections such as the Centre Pompidou, the FRAC Centre and the CNAP. Marc is a TED Fellow and was artist in residence at the Atelier Calder. His practice has been awarded New Practices New York by the AIA, an Architectural League Prize, Design Vanguard by Architectural Record and the WAN 21 for 21 Award.  He currently lives in New York and is teaching at Princeton and at Harvard GSD.  www.theverymany.com


About bengal.fierro

Additional and generous support has been kindly provided by Brooklyn based fabrication consultant bengal.fierro including prototyping, laser cutting the 2000 unique parts and developing the powder coating of the customized neon pink color of the installation. ​



Situation NY was supported by the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Program, which supports fearless and innovative collaborations in the spirit of Robert Rauschenberg. Additional support has been provided by fabrication consultant bengal.fierro.


Situation NY was presented on the occasion of the launch of the World Wide Storefront project. To learn more about it please visit wwstorefront.org


Letters to the Mayor

Wednesday April 30, 2014 – Saturday May 24, 2014

Letters to the Mayor
Photo by Jade Doskow.

Letters to the Mayor

April 30 - May 24, 2014

Opening: April 29, 7pm


As a civic figure, the architect has the privilege and responsibility to articulate and translate the collective aspirations of society, and specifically of those not able to sit at the decision-making tables. 


Throughout history, architects have engaged with this responsibility and the structures of economic, political and cultural power in different ways and with varying degrees of success. With the rise of globalization and the homogenization of the contemporary city, the role of the architect in the political arena has often been relegated to answering questions that others have asked. While designing the next economically driven cultural-iconic-touristic object, an increasing amount of both architects and with them, politicians, have forgotten the ethics that should be associated with architectural practice and the potential of design in the construction of public life. 


Letters to the Mayor presents fifty letters written by international architects to the political leaders of more than 20 cities around the world. Each letter provides a space of reflection for the architect to present ideas and methodologies and express some of the concerns and desires that might contribute to action within political spheres. 


Letters to the Mayor also presents the eighteen finalists of the Competition of Competitions, a project launched in 2013 that invited interdisciplinary teams of architects, artists, economists, philosophers, writers, and citizens at large to formulate their visions of the future of architecture and cities in the form of a competition brief. With the intention to provoke long-standing conventions of the architecture competition, the first edition of the Competition of Competitions drew more than 100 entries, which were reviewed by a jury of professionals and visionaries including Amale Andraos (Architect, Work AC), Paola Antonelli (Architecture Curator, MoMA), and Michael Sorkin (Architect and architecture critic).  


Letters to the Mayor is thus a compilation of briefs, facts, desires and dreams for the construction of our cities foundations and horizons. All competition briefs and letters will be sent to each respective City Mayor after being presented at the Storefront gallery.  

The winners of the Competition of Competitions were announced at the public opening of the exhibition on April 29 at 7pm. Click here.



Participating Architects

Ellie Abrons, Emily Abruzzo, Nora Akawi, Azra Akšamija, Zahra Ali Baba, Suad Amiry, Arielle Assouline-Lichten, Ana Dana Beros, Bronwyn Breitner, Alessandra Cianchetta, Odile Decq, Sonja Duempelmann, Keller Easterling, Pia Ednie-Brown, Frida Escobedo, Daniela Fabricius, Yvonne Farrell, Daisy Froud, Rosalie Genevro, Cristina Goberna, Selva Gürdoğan, Greta Hansen, Roisin Heneghan, Joyce Hwang, Catherine Ingraham, Julia King, María Langarita, Alexandra Lange, Ana María León Crespo, Ariane Lourie Harrison, Jing Liu, Yeoryia Manolopoulou, Mpho Matsipa, Mitch McEwen, Shelley McNamara, Meredith Miller, Sissil Morseth Gromholt, Elizabeth O'Donnell, Marina Otero, Mariana Pestana, Rocío Pina, Anna Puigjaner, Danielle Rago, Suchi Reddy, Dagmar Richter, Florencia Rodríguez, Saskia Sassen, Deborah Schneiderman and Scott Lizama, Annabelle Selldorf, Maria Smith, Michael Sorkin, Esther Sperber, Benedetta Tagliabue, Martha Thorne, Nathalie de Vries, Marion Weiss, Sarah Whiting, Mabel Wilson, Kim Yao, Marisa Yiu, Alejandro Zaera Polo, Mimi Zeiger, Zoka Zola, and more.


Competition of Competitions Finalists


ReDesign the Discipline of Architecture 

The Architecture Lobby


Open Source Open Space: Hacking the Built Environment 

Boot/Trunk [Nicole Lindahl, Louise Mackie and Samantha Senn]

dePOLITIsign: An open call for the redesign of a USCIS office 

Min Chen & Kristin Enright

Amazonia 2020 

Civic Projects [Kati Rubinyi, Deborah Richmond , Michael Powell, Ewan E. Branda]

Deploy Yourself, Not Your Designs 

The Coalition for the Improvement of Refugee Camps [Marcy Monroe, Lee Dykxhoorn]

Second Nature 

El Corbusier


The City is The Room. The Room is The City. 

FormFictionFormat [Elena Palacios Carral, Manijeh Verghese]


grey_matter(s) [Annie Charleston, William McCommon, Megan McDonough, Shota Vashakmadze]

NO TITLES, A Campaign for Illegal Architecture 

GroundLAB [Sean Billy Kizy, Sara Lum, Rakia Seaborn, Nicholas Sharma]

Taking Buildings Down



The Discreet Architect

Local Provision Studio [Valeria Federighi, Janet Yoon]


Nature, Error, Babies 

Metonymy's Architecture [Tom Nurmi, Jeffrey Dunn, Meagan Lehr, Erika Wilder]

Off-the-Radar: The Architecture of Non-Existing Space 

Mitnick-Roddier [Mireille Roddier, Keith Mitnick]


Rezoning the 5th Façade: Redefining New York's City Roof Scape 

normaldesign [Matthias Neumann in collaboration with Shane T. Umman]


The Next Suburb

The Thirteenth Hour

Future Factory

Gretchen Wilkins [with Ian Nazareth and students Matthew Ellis, Ken Yip Lai, Sarah Moussa, Francisca Rodriguez, Nicholas Stathopoulos]


BLISS: Better Living through Intuitive Soft Surveillance 

Yeadon Space Agency


Into the Void: An Architectural Competition on Emptiness

Zooburbia [Felipe Orensanz, Rodrigo Duran]


Storefront x Voutsa collaboration wallpaper

Dissolvable furniture installation by Piotr Chizinski

Newsprint design by Lauren Francescone

The wallpaper installation by George Vousta is as an investigation into the language of power, mirroring the activities commonly associated with The Mayor. Shovels, ties, microphones, bows, ribbon ceremonies and handshakes construct a pattern that in digital repeat, creates a chaotic background noise, rhythmically echoing the letters across the room. 

About Voutsa

Voutsa is a New York-based lifestyle and interiors brand that specializes in signature hand-illustrated and digitally reworked wallpapers, custom murals and wall installations.  In addition to special collaborative projects such as the “Letters to the Mayor” piece designed for Storefront for Art and Architecture, Voutsa produces seasonal collections of digitally printed wallpapers as well as custom textiles and objet, available online and in showrooms around the country.  George Venson, a Texas native and the founder of Voutsa, lives and works in Chinatown, New York.  Pronounced voo-tsa, its origins date back to Greece; George’s grandparents immigrated to the US through Ellis Island, changing their name in the process to Venson. In an effort to usurp this transition, George formed Voutsa LLC in their honor and in honor of the American Dream.  George holds degrees from Rice University in Economics and Visual Arts.

This exhibition is supported in part by the Norwegian Consulate General New York.








Tough Love

Friday February 14, 2014 – Saturday April 12, 2014

An exhibition by Sebastian Errazuriz

Tough Love
Doomed. Sebastian Errazuriz, 2013.


February 15 - April 12, 2014

Opening: February 14, 7pm


Courts have one sole task: to fulfill the demands of justice. Cultural institutions have over time adopted more than one task. The question this exhibition poses is: What is the task of cultural institutions today?


In this exhibition, culture, in the form of art and design objects, operates as a place to test society’s deeds. This exhibition calls into question citizenship, art and design as acts of passive observance by inserting active forces within the viewer, the buyer or the cultural consumer with consequences beyond the gallery walls.


Tough Love unloads a series of objects, from clothing to paintings, and traces social burdens that each of us carry. The exhibition reminds us that justice and evil are not things that are witnessed but exercised by acts of difference and indifference. Tough Love reminds us that too often we limit ourselves to just being humans, forgetting the responsibility we have to act as citizens, and conversely, that as citizens of narrow ideological lands, we often forget our humanity.


The work of Sebastian Errazuriz collapses product design and artistic practice with socially engaged positions. The works in this exhibition unveil questions of inequality, violence, fear or terror through a series of pieces that dwell on spaces of familiarity and uncanniness, simultaneously appealing and atrocious. Taking as context an over-informed society, the works presented force us not only to look and reflect on what is happening, but to reconsider our responsibilities as citizens.


About the artist

Sebastian Errazuriz, born in Santiago, Chile in 1977, was raised in London. Errazuriz took art classes in Washington, film courses in Edinburgh, and earned a design degree in Santiago. He later received his Master’s in Fine Arts from New York University. At age 28, Sebastian became the second living South American artist to have work auctioned at Sotheby’s Important Twentieth Century Design Auction.


Errazuriz was selected as one of the top emerging designers by I.D. Magazine in 2007, and received the title of Chilean Designer of the Year in 2010. His large-scale, public artwork has received critical acclaim, and his furniture pieces are incorporated in over forty international exhibitions in cities such as Tokyo, New York, Paris and Barcelona. His design work has been incorporated in exhibitions and pop up shows at the Copper Hewitt, National Museum of Design in New York, The Vitra Museum in Weil AM Rheim in Germany, and the National Museum of Fine Arts in Santiago, Chile. Sebastian’s work is a part of the permanent collection of Coorning Museum of Glass and several important international private collections. Sebastian’s design, fashion, and public artwork have been featured on CNN, Good Morning America, and NY1. 

Errazuriz lives and works in New York, with offices and workshops in Santiago, Chile. 

Errazuriz has a particular hability in reinventing himself and his work. 

Every week, Storefront will release images and short texts explaining and contextualizing the works on display. Follow @storefrontnyc on Twitter and Instagram for updates. 

"Art is a matter of Life or Death"

Sebastian Errazuriz, 2011

Oil paint and tape over stainless steel extinguisher 

Dimensions variable


Statistics show a direct correlation between the existence of properly maintained fire extinguishers and a decrease in large fire hazards inside the home.
This sculpture might save your life (and your home) one day.







Sebastian Errazuriz, 2013

Modified Varsity Jacket

According to statistics one in five women on a given college campus will be raped; 85 percent of those women will know their attackers; and 90 percent of those rapes will go unreported. The male student athletes accused of rape often receive support from the schools while the girls tend to suffer public shame until silenced.


According to legal reports, athletes represent a disproportionately high percentage of sexual attackers. School administrations, coaches and even the community tend to defend them because they represent the values of the school and because of the power and ultimately, money involved. Considering the NCAA estimates college sports generate about $6 billion in revenue a year, one could infer that money often stands in the way of justice.


The jacket and its potential sale will help fund the legal defense of a future victim of college rape and provide a broader public awareness and discussion of the issue.








“United States of Mexico”

Sebastian Errazuriz, 2013

Graphic logo and adhesive applications on construction safety helmets

Dimensions variable


Recent statistics show that in some states almost 50% of construction workers are undocumented. This information suggests that many sectors of the U.S. economy are dependent on immigrant labor.


Unfortunately current federal immigration policy denies them the right to work legally, forcing them into an underground economy where low pay, dangerous working conditions, and abusive practices are common.


The “United States of Mexico” logo symbolizes the biggest undocumented group (over 50% of illegal immigrants are Mexican).





Inkjet on paper face mounted on acrylic

78 3/4 x 70


Violence, tragedy and truth telling are the three elements that photographers, editors, producers, curators or artists address through ethic-related questions.


“During the U.S.-led war in Iraq, news managers have been faced with many controversial images: the bullet-riddled bodies of Saddam Hussein’s sons (Romano, 2003), the charred re-mains of four U.S. contractors hanging from a bridge in Fallujah (Crain, 2004; Perlmutter & Major, 2004), nude Iraqi prisoners being humiliated at Abu Ghraib prison (Hersh, 2004), and the retaliatory beheading of U.S. contractor Nick Berg (Walt, 2004).


Even images that some viewed as patriotic became controversial. Questions were raised about the impression given by images widely used in U.S. media (Schwalbe, Keith, & Silcock, 2003) that seemed to show a mass of Baghdad residents hailing U.S. troops after the toppling of a statue of Saddam Hussein on April 9, 2003, when wider angle versions published abroad and on the Internet showed that the crowd was far smaller (Fahmy, 2004).


Beyond Iraq, the March 2004 bomb attack on four commuter trains in Madrid resulted in a powerful image by El País photographer Pablo Torres Guerrero—and a difficult choice for editors. Should they show news that included a bloody femur, crop the photo, digitally re-move the body part, or not use a photograph that left no doubt about the horror of the attack (Day, 2004; Irby, 2004)?

In September 2004, still and video images depicted the bloodied bodies of Russian children, victims of a commando raid on hostage takers who killed more than 300 at a school in Beslan (Rivard, 2004).


The December 2004 tsunami in Asia brought more images of tragedy and destruction (Winslow, 2005), as did bombings of three Underground trains and a bus that killed more than 50 people in London on July 7, 2005.


Questions were raised about whether news media outlets acted responsibly in airing leaked images of unexploded bombs seized in investigations of the London attacks (Associated Press, 2005) and in publishing camera phone photographs made by survivors of the London blasts and the crash landing of AirFrance Flight 358 in Toronto on August 2, 2005 (Madore & Phan, 2005; Memmott, Levin, & Livadas, 2005).


Later in 2005, tragic images of victims of Hurricane Katrina, which killed more than 1,300 (Weeks, 2006), became icons of “all that went so tragically wrong” (Lawrence, 2005, p. 1A; Filosa, 2005). Editors and producers were forced to decide whether images of the dead, such as The Toronto Star’s photograph of a body crushed beneath the rubble of a motel in Biloxi, Mississippi, should be published because they captured ‘the true dimensions of the tragedy’(Burnside, 2005, p.F6) or should be withheld because they might be disrespectful to the storm’s victims or offend readers. How well are the ethics guidelines given to visual journalists and those who work with them keeping up with these challenges?”


Susan Keith
Department of Journalism and Media Studies School of Communication, Images in Ethics Codes in an Era of Violence and Tragedy.







"Portrait of US"

Sebastian Errazuriz, 2013

Acrylic paint, ink and natural dyes on cotton

2 Framed sweaters

48 x 80 x 2 each frame


“Portrait of US” presents two framed reproductions of the hoodie and sweatshirt that Trayvon Martin was wearing the day he was killed.


Newspapers announced that George Zimmerman was found not guilty of murdering unarmed black teenager on July 13, 2013. Civil rights leaders argued that Zimmerman had probably targeted Martin because he was black. Statistics prove that white people who kill black people in ‘Stand Your Ground’ states are 354% more likely to be cleared of murder.


The images depicting the framed hoodie were presented to the court during of the Zimmerman trial in a similar manner as paintings are presented at auctions to the scrutinizing public. They constituted not only evidence of Trayvon’s death but also a portrait of our society.


Complementing the replicas, a series of altered hoodies are available for sale. They are fashion garments of anger and protest one can dare to wear. With “Portrait of US,” aesthetics and politics come together to create a movement that has the potential to become a social force for the much-needed modifications to the “Stand Your Ground” law and other discriminating racial laws.


100% of the proceeds from the sale of altered hoodies will be donated to the Trayvon Martin Foundation.







Sebastian Errazuriz, 2013

Oil paint on particle board, gilded antique frame

54 1/2 x 82 1/2 x 3 1/2


Painters like Goya, Caravaggio or Rembrandt have historically constructed martyrdom by using aesthetics to manufacture empathy.


Sgt Sean Murphy, a photographer for the Massachusetts State Police pictured the alleged Boston bomber Dzhokhar Tsarnaev on April 19, 2013 in a dry-docked boat in Watertown, just outside Boston during his capture by special police forces. On July 18, 2013, Sgt Sean Murphy published the image above in Boston Magazine as a response to the image portrayed of Tsarnaev in The Rolling Stone August issue.


Hours before this image was taken, Tsarnaev witnessed the death of his brother. Friends and colleagues of Tsarnaev still do not understand what happened to their neighbor.


Dzhokhar Tsarnaev faces a probable death sentence based on large amounts of evidence that allegedly will prove him guilty of an attack that killed three and injured hundreds.








Sebastian Errazuriz and Carlton DeWoody, 2013

Office printer, shredder, news clips and video projection

Dimensions variable


In the United States, authorities do not maintain a record of civilians permitted to acquire, possess, carry, sell or transfer a firearm or ammunition. Privately owned guns in the U.S. are estimated to be approximately 310,000,000. With an average of approximately 30,000 deaths a year caused by firearms, one would expect strong government control.


The printer reproduces a selection of past newspaper articles announcing different gun massacres that have happened in the United States. The non-stop roll of terrifying articles manages to exist for barely enough time to be read by the viewer, before they are destroyed and forgotten by the shredder.


Each shredded news clip of gun massacres over the past 10 years is framed and available for sale. This artwork will continue to evolve and will only be completed by the artist when a comprehensive gun law is passed in the United States.








Sebastian Errazuriz, 2013

Acrylic and oil paint over wooden baseball bats

Dimensions variable


According to the U.S. Justice Department, 25% of women polled admitted having experienced domestic violence.


There are approximately 1 million domestic violence incidents each year.
On average, 3 females and 1 male are murdered by their partners each day in the United States.


The public is invited to download the stencils and create their own Justice bats and share their personal stories.








Sebastian Errazuriz, 2013

Oil paint over welding mask

Dimensions variable


Statistics indicate that manufacturing jobs in the U.S. have hit a 60 year low.


Despite the harrowing conditions in which many of the workers endure on a daily basis, both the workers and the industry know that without policy changes, their jobs are dooming.


Metal fume fever is the most common acute respiratory illness experienced by welders. Chronic Manganese poisoning can cause Parkinson’s-like disease and other respiratory illness.


The color of Manganese is pink. 







“Fuck BP”

Sebastian Errazuriz, 2011

Acrylic paint on oil cans, custom safety pins and industrial grade elastics

Dimensions variable


Conceived during the reckless procedures of British Petroleum in the Gulf of Mexico in 2010, “Fuck BP” embodies the public’s anger after irreversible natural disasters produced by multinational oil companies.





“Occupy Chairs”

Sebastian Errazuriz, 2011

Acrylic paint on wood

Dimensions variable


Originally designed as foldable chairs/signs for the protesters of Occupy Wall Street, “Occupy Chairs” provide the users a sign to protest during the day and a fold out chair to gather together next to their tents at night.


The second part of the project consisted of creating a refined version of the chair enhanced to emulate commercial pop art in an attempt to attract the rich collectors of the 1% to buy the complaints of the 99% and take them home like a Trojan horse.


The third and final step of the project consisted of a declaration to the press of fabricated doubts about how much of the profits obtained from the sale of the chairs would be donated to the 99% movement.


The purposely ambiguous and ironic gesture sacrificed what was previously a “politically correct” artwork to question how our own position towards social inequality changes depending on what position on the income bracket we hold at any given time.


The “Occupy Chairs” were first presented at the NY Armory Show, where 99% of attendees tend to constitute the 1%.







Sebastian Errazuriz, 2013

Oil paint over axes

Dimensions variable


Axes were incorporated into public institutions as a safety measure should fire victims find themselves in a position where they needed to cut themselves out of an exit.






Sebastian Errazuriz, 2012

Embroidered wool hat and photograph

An embroidered hat

Dimensions variable


New York has over 50,000 homeless people in municipal shelters. 22,000 are children.

Recent statistics show that homelessness has already increased 13 percent more in 2013 than in previous years.







Sebastian Errazuriz, 2014

Inkjet on canvas, resin

Blow up of a police poster for a missing child

78 3/4 x 55


Tatianna Lindo was reported missing exactly a year and one day from the opening of this exhibition.


Her portrait, like many other missing children has been widely circulated online and posted around the city.


800,000 children are reported missing each year in the United States. 







Saturday October 12, 2013 – Saturday January 18, 2014

30 Years of Storefront for Art and Architecture

UNVEIL. Brett Beyer, 2013.


October 12, 2013 – January 18, 2014

TV Broadcasts: Tuesday evenings at 10 PM on TW channel 67


Curated by Eva Franch i Gilabert and Carlos Mínguez Carrasco

Designed by Bittertang
Graphic Design by This is our Work

Curatorial Fellows: Jessica Ngan and Matt Shaw

Curatorial Support: Jordan Anderson, Isabelle Claire Kirkham-Lewitt
Storefront TV Co-producer: E.S.P. TV



BEING was an exhibition that looked into Storefront’s 30 years of history of dreaming, amplifying, questioning, unveiling, connecting, disrupting, merging, reacting and experimenting in relation to individuals, ideas and spaces from its past, present and future. 


BEING was a collection of actions. BEING was a transversal examination of Storefront’s 30 years of history to better understand the role and transformation of alternative practices in the construction of culture and public life.


While looking into archival material, institutional archaeology, and contemporary events, the exhibition presented, acted and projected forms of “being” Storefront for Art and Architecture by providing a set of historical and experiential acts around 9 action verbs: Question, Dream, Unveil, Connect, Disrupt, Amplify, React, Merge and Experiment.


Each one of these actions were presented as a series of installations that allowed the visitor to understand in more depth the mechanisms, methodologies and aspirations of an institution dedicated to the production of radical and alternative practices, while inviting and enabling the visitor to act.


As if entering into a living organism, each constantly changing environment, constructed as an experiment in and of itself, informed, armed, and provoked the viewer while indirectly revealing the ways in which the organization functions and its social and cultural positions. After engaging each environment, the visitor leaves with a series of real-time experiences that carry simultaneously Storefront’s history of making.


From a waterbed of unfulfilled dreams containing unsuccessful grant applications, unrealized exhibition proposals or frustrated conversations and encounters, to a compilation of instructions towards disruption, to a TV Broadcast studio station installed in Storefront’s basement for the unveiling of relevant contemporary issues, the exhibition aimed to bring together all the individuals invested in the discussion and production of alternative work to propose new ways of action.

The exhibition included works previously on display at Storefront by a varied range of artists and architects in specific moments in their trajectory. Artists included Vito Acconci, Liz Diller & Ricardo Scofidio, Dan Graham, Steven Holl, Jenny Holzer, Bjarke Ingels,  Camilo José Vergara, Tadashi Kawamata, Laura Kurgan, LTL, Enric Miralles & Carme Pinós, Antoni Muntadas, Shirin Neshat, Kyong Park,  Kiki Smith,  Michael Webb, Krzysztof Wodiczko, and Lebbeus Woods. among many others.

Opening Reception: October 11, 2013, 7pm





BEING launched Storefront’s Critical History Project, a conference, an exhibition, a film, and a book that work together to understand the role of Storefront for Art and Architecture in the construction of architectural discourse within the last thirty years. Presented on the occasion of the organization's thirtieth anniversary, the project aims to reevaluate the past, scope, impact, and residue of the most relevant projects undertaken by the institution and position them in contemporary culture to assess the present and future role of alternative positions within the field of architecture.


Thanks to the support of previous directors Kyong Park, Shirin Neshat, Sarah Herda and Joseph Grima.




This exhibition was supported in part by an award from the National Endowment for the Arts. Art Works.


The Critical History Project, a conference, exhibition, film and publication celebrating 30 years of Storefront for Art and Architecture is made possible by The Andy Warhol Foundation for the Visual Arts, F.J. Sciame Construction Co., Inc., the Graham Foundation for the Advanced Studies in the Fine Arts and through generous contributions from a group of individuals directly supporting 30 years of Storefront including David Adjaye, Minsuk Cho, Beatriz Colomina, Claudia Gould, Steven Holl, Steve Incontro, Bjarke Ingels, David Joselit, Galia Solomonoff, Mabel Wilson, and Karen Wong.

Special thanks to  SAFEHOUSEUSA.COM  for producing the edition of DREAM duvets by This is our work. 


The opening reception of Being is supported by Grolsch.


Urban Zoom: Works by David Molander

Saturday August 3, 2013 – Saturday September 7, 2013

A solo exhibition of hyperrealist urban landscapes

Urban Zoom: Works by David Molander
David Molander, Fountain LES, 2013.

David Molander: Urban Zoom

August 3 – September 7, 2013

Opening Reception: August 2, 2013, 7:00 p.m.


Urban Zoom was a solo exhibition by contemporary artist and photographer David Molander. The exhibition presented a series of hyperrealist works that go beyond the surreal and expressionistic to depict contemporary urban and social landscapes, including events related to the Occupy Wall Street Movement in September 2011 through a site-specific photographic installation on the Acconci/Holl façade.


The works depicted various urban landscapes in New York and Stockholm: an accident on the Lower East Side, the loneliness of the Gowanus Canal, the psychedelic view of a nightclub in Stockholm. By manipulating the images through enlargement, cropping, dissection and zooming, Molander guided the visitor through a metropolitan journey, offering new perspectives of the urban environment.


David Molander’s façade installation premiered as part of Storefront’s exhibition, POP: Protocols, Exhibitions, Positions.



Exhibition Trailer: Urban Zoom: Works by David Molander from Storefront for Art&Architecture on Vimeo.



David Molander's Urban Zoom was supported by the Consulate General of Sweden, Julie Saul Gallery and Konstnärsnämnden.  The opening reception of Urban Zoom was supported by Grolsch and Heart of Tea.

POP: Protocols, Obsessions, Positions

Tuesday June 18, 2013 – Friday July 26, 2013

POP: Protocols, Obsessions, Positions
Installation: POP: Protocols, Obsessions, Positions


POP: Protocols, Obsessions, Positions

June 19 – July 26, 2013

Opening: June 18, 2013, 7pm


POP: Protocols, Obsessions, Positions investigated what constitutes a position in architecture today and how that might be generated through the architect’s drawing. This exhibition presented 30 original drawings of the Storefront gallery space at 97 Kenmare Street by an international group of architects asked to go “from protocols, to obsessions, to positions.”


As an image based on codes and systems of representation that establish a space of legibility between inherited and new forms, the architectural drawing tends to operate either as a technical tool of communication based on protocols and codes or in a diametrically opposed spectrum as an artistic device completely detached from the constraints of architectural practice. While one end of the spectrum is overcharged by the need to communicate, the complex or mysterious beauty of illegibility haunts the other. While protocols engage with a disciplinary temporality and obsessions are usually atemporal, positions address timely, current issues beyond those typically addressed in the discipline of architecture or an architect’s body of work.


The online auction is now closed. 


POP presented thirty drawings by thirty architects that addressed both ends of the architectural drawing spectrum, understanding its codes and protocols and deploying the personal obsession of each architect in the articulation of a position now. Architects included: Ada Tolla & Giuseppe Lignano | LOT-EK [New York];  Adam Frampton [Hong Kong-New York]; Alex Maymind [Ann Arbor/Los Angeles]Ania Jaworska [Chicago];  Arturo Scheidegger & Ignacio García Partarrieu | UMWELT [Santiago];  Bernard Tschumi [New York];  Caroline O’Donnell | CODA [Ithaca];  Eric Owen Moss [Los Angeles];  Filipe Magalhaes & Ana Luisa Soares | Fala Atelier [Oporto];  Form_ula [New York];  Gia Wolff [New York];  Hayley Eber | EFGH [New York];  DUS Architects | [Amsterdam]; James Wines [New York];  Juan Herreros [Madrid];  Kohn Pedersen Fox Associates [New York];  Lola Sheppard | Lateral Office [Toronto];  Luis Callejas & Melissa Naranjo | LCLA Office [Medellin-Cambridge];  Marcelo Spina & Georgina Huljich | P-A-T-T-E-R-N-S- [Los Angeles]; Mark Shepard [Buffalo]; Michele Marchetti | Sanrocco [Milan];  Neil Spiller [London];  Norman Kelley [Chicago-New York];  Odile Decq [Paris]; Rafi Segal [New York];   Rojkind Arquitectos | Michele Rojkind & Gerardo Salinas [Mexico DF] Ryan Neiheiser, Giancarlo Valle & Isaiah King | another pamphlet [New York];  Stan Allen [New York];  Veronika Valk [Tallinn];  Viviana Peña | Ctrl G [Medellin];  Yansong Ma | MAD [Beijing]; among others.

Click here to view the selection of works included in the exhibition.


On the Facade

David Molander, a Stockholm based artist, has been invited by Storefront for Art and Architecture to design a site-specific photographic work titled "New York Positions", specially designed for the exhibition POP [Protocols, Obsessions, Positions]. Mixed and intertwined with other urban portraits, this installation presents a large-scale image of the events related to the Occupy Wall Street Movement in September 2011 covering the interior facade of the gallery in its entirety. Through special configurations of the facade panels, the piece will create a dialogue with the same New York that witnessed the events, as well as with the 30 representations of Storefront's gallery included in the POP exhibition. While POP investigates what constitutes a position in architecture today and how that might be generated through the architect’s drawing, "New York Positions" reflects on the configurations of sociopolitical positions of the contemporary urban space.


POP was Storefront’s second annual architectural drawing show aiming to contribute and transform our understanding of architectural drawings in the 21st century. The drawings on display were auctioned online during the exhibition. Proceeds directly support Storefront’s exhibitions and programs.


The opening reception of POP was sponsored by Grolsch.



No Shame: Storefront for Sale

Wednesday May 1, 2013 – Saturday June 8, 2013

No Shame: Storefront for Sale
Item/Idem, Corpopoly, 2013. Photo by Naho Kubota.

No Shame: Storefront for Sale

May 1 – June 8, 2013

Opening Reception: April 30, 7pm


An exhibition that examined how museums and cultural institutions, fueled through private funding, have adopted a system and tradition of celebrating donors to the extent that every single public space (physical or digital; temporary or permanent) can eventually be named. 


Contemporary funding strategies for public spaces of cultural production are increasing and diversifying. Within this condition, cultural institutions, funded primarily through individual or corporate giving, have established a complex relationship with donors and funders that sustain and make possible the projects at the core of their mission. In some cases, the entrepreneurial nature of donors has produced a new branded landscape with agendas, objects, or even named buildings that might go beyond the institution’s initial goals. By crowdsourcing artists for new connections between capital and culture, No Shame: Storefront for Sale created a space to investigate experimental ways of exchanging capital and culture, so that every corner of Storefront—from office chairs to the air between its panels to the noise of a 5pm Friday traffic jam—was for sale.


No Shame: Storefront for Sale aimed to guide visitors through a critical history of funding for cultural production, and imagined a scenario of total commodification. The exhibition presented a photographic survey of privately funded spaces connected to New York cultural institutions alongside the works of eight artists, architects and designers, who were invited to envision a critical commercial campagin of Storefront's assets. Each project presented a new taxonomy of valuable aspects the institution holds or represents in relation to the city and the citizen, unveiling untapped forms of connection between capital and culture production. The show experimented with the different ways in which individuals, companies, collectives, or nations could fund and acquire different aspects of the non-for profit institution. 


Participating artists and architects included Fake Industries Architectural Agonism (Urtzi Grau+Cristina Goberna), Jesse Hlebo, Interboro Partners, item idem, Playlab+Family, Luis Urculo, and Softlab.  

Works in the Exhibition:

Luis Úrculo, Taxidermy, 2013. 

Luis Urculo compares the act of sponsorship to an aggressive sport of hunting, where names and brands hunt for the skin, or the outside part of the gallery, which is the most visible and recognizable side of a building’s body. For “Taxidermy,” Urculo divided the exterior of Storefront’s panels into saleable pieces, which, like a skinned animal, results in a dead body as its identity is given to the sponsor.


Item/Idem, Corpopoly, 2013

Ciryl Duval, under his firm Item/Idem proposed a Monopoly game to be played by all the Development Departments of the culture industry of the city in collaboration with the best-situated private companies in the New York Stock Exchange. The game, both ironic and real, reflects on the complex relationship between capital, play and culture.


Softlab, Teams for Sale, 2013

Softlab’s Teams for Sale is perhaps a more playful game, where the young firm established a “Storefront soccer league,” with teams of architects in two divisions (Line and Points) that are up for ownership.  Sponsorship opportunities are available through team uniforms and other merchandise.


Fake Industries Architectural Agonism, Shut Up Storefront, 2013.

Fake Industries Architectural Agonism suggests that the playing field can be leveled by creating a system of checks-and-balances, where funders have a say in an organization's activities.  For Shut Up Storefront, the artists question what it would take to silence the institution, whose programs (one could argue) consistently activate and sometimes disturb the public when experimenting and expressing radical ideas. The work offered forty-four sponsored ways of silencing the institution, from “shutting down the gallery” to “deactivating the organization’s website” for an hour, a day, a week, or even a month, testing the desire for silence among the organization’s active calendar of projects, films, competitions, pop-ups, benefits, series and exhibitions. 

Jesse Hlebo, Untitled, 2013. 

Hlebo, as a reflection on how cultural funding can operate in the realm of social justice, presented a system of support, encouragement and relief to Guantanamo prisoners through a recorder located at the gallery, and the production of new vinyls to be produced and sent to the prisoners at the end of the exhibition.


Interboro Partners, STAABUCKS, 2013.

For STAABUCKS, Interboro Partners created a new currency that can only be acquired by supporting Storefront through volunteer work or promoting the institutional mission. The currency (or “STAABUCKS”) can be used to purchase benefit tickets, books, or even a solo exhibition in the bathroom.


PlayLab, ATM, 2013.

PlayLab + Family installed an ATM machine in Storefront’s gallery that generated service fees billable to Storefront as a donation.


#noshame @storefrontnyc


© 2015