new-york

Mark Sink, Untitled, 2017, Polaroids, C-prints, dimensions variable.

“Love Among the Ruins: 56 Bleecker Gallery and Late 80s New York”

HOWL ARTS

Mark Sink, Untitled, 2017, Polaroids, C-prints, dimensions variable.

Look up “NoHo” on Airbnb and you will find a neighborhood tagged “trendy” and “touristy,” a place “filled with eclectic cafés, spacious studios, and sublime shopping.” Gentrification works fast: Such a description of this part of downtown Manhattan would not long ago have been unimaginable, as “Love Among the Ruins: 56 Bleecker Gallery and Late 80s New York” virtually made a fetish of establishing. Dedicated to the 56 Bleecker Gallery, which flourished from 1986 to 1989, the show documented an art space that at that early date had fled a previous location, a derelict theater on Second Avenue and East Fourth Street, because, as cocurator Bill Stelling writes in the catalogue, the area had been “invaded by fashion and media.” For those who four years earlier had been embedded in what Stelling calls “the dewy-eyed East Village art scene of 1982,” this no doubt seemed true, though

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