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.

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

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