Art’s romantic past and topical present merge emphatically in art that is at once socially relevant and inextricably tied to the legacy of art history.


Photography: © Beholdr. Photo by Greg Navarro
Step into this small, comfortable gallery, and everything slows. The space is modest; a viewing room with a bookstore tucked behind. This intimacy invites an inward turn and shows here are meditations on connection and the desire to locate oneself in a shifting world.
Emotion, rather than reason, takes the lead. We’ve seen black-and-white landscapes photographed from across the Israeli border in Jordan by Palestinian artists who ache for home. “Self-portraits” by a couple bound by love and addiction that hover between ecstasy and ruin. And wistful, tropical landscapes cast in plaster of Paris, sitting beside a map of South America, chipped from the wall—a quiet hymn to the beauty and the extraction of Brazil's rainforest.
Love and ruin, devotion and disappearance: art becomes a way to stay alive to both. You’ll leave feeling both the gravity of history and the grace of wonder.
Paul Henkel grew up in London, but comes from generations of German art dealers and collectors of Old Masters. The gallery began in 2018 as a roving, boisterous pop-up he started with friends, eventually morphing into the tender, elegant space we see today on Third Street. The sunny, double-windowed storefront sits just across from Project Renewal, a men’s shelter, which somehow adds to the sense of art’s necessity and social relevance.
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