Jeffrey Deitch

Crowd outside Deitch Projects for the opening of Shepard Fairey’s “May Day,” New York, May 1, 2010. Photo: Delphine Ettinger.

LOOKING BACK AT MY GALLERY during the past fifteen years, I’ve become increasingly aware of how it operated as a private ICA. Most of our programming was not commercial—for instance, the recent Josh Smith show of forty-seven paintings made directly on the wall, which you can’t sell. And, in fact, Deitch Projects was not originally intended to be a gallery. It was inspired by Art & Project in Amsterdam, with the concept being that I would only invite artists who had never shown in New York and who would not just hang new paintings or photographs but instead wanted to create a project for the space. I would provide artists with up to twenty-five thousand dollars in production or travel money and living stipend; if we sold the work, the twenty-five thousand dollars would be reimbursed and we would split the remaining proceeds. If we didn’t sell it, we could be very relaxed. The

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