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525 West 26th Street in advance of construction in the Spring of 2005
525 West 26th Street in advance of construction in the Spring of 2005

When making the decision to move the gallery in 2005, it was both a simple and difficult choice. For decades its home had been on 57th Street, moving between three locations around the intersection of 57th and Fifth avenue since opening in New York in 1959.

Luis Cruz Azaceta with 'El Dictador'
Luis Cruz Azaceta installing his sculpture, 'El Dictador'
Frumkin/Adams Gallery, New York, April 1988

A sudden and significant increase in studio space in the mid-1980s meant that Azaceta was not only able to paint on a much larger scale than before, but also allowed him to explore the themes of his paintings and drawings in three dimensions.

Installation view of new ceramic sculpture by Robert Arneson
Robert Arneson as Santa Claus, circa 1975
Allan Frumkin Gallery, New York, March 1976

Arneson began experimenting with himself as a subject in the early 1970s – by 1975 the artist in various guises and expressions had become a defining aspect of his career.

Curator Patterson Sims in the studio of H.C. Westermann 1977
Curator Patterson Sims Visiting H. C. Westermann’s Studio
Brookfield Center, Connecticut, December 1976

Sims, the recently appointed curator of the collection at the Whitney Museum of American Art paid a visit to Westermann’s Connecticut studio in December of 1976 to look at new work.

Joan Brown handwritten checklist of drawings
Joan Brown's Handwritten Checklist of Drawings
March, 1990

Joan Brown’s handwritten checklist of drawings sent to Frumkin/Adams Gallery in March of 1990 for an exhibition in the fall of that year.

Critic Ted Wolff at the gallery 1981
Critic Ted Wolff Visiting the 1981 William T. Wiley Exhibition
Allan Frumkin Gallery, New York

In December of 1981, the gallery mounted its sixth exhibition of Wiley's work, including new paintings, drawings and sculpture completed since his first retrospective at the Walker Art Center a year prior.

Contemporary Self Portraits catalogue cover
'Contemporary Self-Portraits' in Two Parts
Allan Frumkin Gallery, New York, 1982-83

An enduring focus of the gallery has long been self-portraits and indeed many of the artists who have shown here over the years, both regularly and occasionally, have experimented with the format if not made it a staple of their practice.

Red Grooms exhibition announcement poster
Red Grooms' Sculpto-Picto-Rama
'The City of Chicago,' 1968

Grooms' wide-ranging activities coalesced in the late 60s with the formation of his production company, Ruckus Construction Co with his then-wife, Mimi Gross. One of the company's first major undertakings was an immersive, 25 foot square sculptural installation of the city of Chicago.

Jose Bedia working on his installation 'Bilongo Negro'
Jose Bedia's installations
Frumkin/Adams Gallery, New York, 1994

For his installations at the gallery, Jose Bedia would either work directly on the wall or large rolls of canvas, as he is here, and often with little to no preparatory drawings.

Elmer Bischoff with his Untitled painting, held sideways
Elmer Bischoff, David Park and Hassel Smith at the San Francisco Museum of Art
San Francisco, California, Summer 1949

In the summer of 1949, Elmer Bischoff, David Park and Hassel Smith presented their recent paintings in an exhibition at the San Francisco Museum of Art.

Roy De Forest at the gallery 2005
Roy De Forest at the Gallery
George Adams Gallery, New York, December 2005

In the fall of 2005, after 45 years on 57th Street, the gallery moved to West 26th in Chelsea. One of the first exhibitions at the new location was of new paintings by Roy De Forest.

Peter Saul 1975
The making of Peter Saul's history paintings
Chappaqua, New York, 1975

In 1975, Peter Saul relocated from California to Chappaqua, New York. This photo was taken during a studio visit soon after his move, while Peter was working on his version of Leutze’s Washington Crossing the Delaware.

Excerpts from the journals of Gregory Gillespie
Excerpts from the journals of Gregory Gillespie
Northampton, Massachusetts, January 1995

Sometimes the best way to look at art is with the artist’s words in mind. For decades Gillespie kept a regular journal, filling it with his thoughts about life, painting and being an artist.

Robert Arneson and Jack Beal at the gallery
Robert Arneson and Jack Beal at the gallery
Allan Frumkin Gallery, New York, 1979

Galleries are communities: this photo from our archives encapsulates that better than most.