Anat Ebgi is Opening in Tribeca

Anat Ebgi, a gallerist with three spaces in Los Angeles, is opening in New York. The move to a historic block in Tribeca will be “amazing for many of our artists, who have not had a show in New York”, Ebgi says. Her gallery will have two floors and a mezzanine level across about 5,000 sq ft — bigger than any of her spaces in LA.

Inside Other Spaces, Haus der Kunst Review | Female Pioneers of Installation Art Finally Get Their Due

While some environments trap, repel and squeeze out, others cocoon, cradle and shelter. Faith Wilding creates a space for reflection in an enclosure of loosely knitted threads that recalls both female anatomy and delicate spider webs (“Crocheted Environment (Womb Room)”, 1972). Fragile and poetic, the work formed part of the 1972 Womanhouse exhibition in Los Angeles, a landmark feminist art installation led by Miriam Schapiro and Judy Chicago. —Roula Khalaf

The ADAA Art Show Returns for a Milestone 35th Edition With A Slate of Special Programming to Celebrate

In addition to returning favorites, such as Kasmin and Sperone Westwater, a number of new ADAA members will make their the Art Show debut, including Anat Ebgi Gallery, Eric Firestone Gallery, and Catharine Clark Gallery.

Anat Ebgi Is Latest Gallery to Expand to Tribeca With New 5,000-Square-Foot Location

The 5,000-square-foot landmark space will span two floors, on-site storage, a viewing room office, and a mezzanine level, exceeding the gallery’s three locations in Los Angeles. The opening in Tribeca marks an ambitious return for Ebgi, who is from the East Coast and lived in New York for several years before moving to the Los Angeles in the fall of 2008. Ebgi has expanding her gallery to three locations on Wilshire Blvd, Fountain Ave, and La Cienega Blvd. —Karen K. Ho

The Art Show Highlights Masters — and Artists Under the Radar

Faith Wilding is also a well-known artist, but this solo exhibition on paper at the Los Angeles gallery Anat Ebgi is worth mentioning. An important contributor in 1970s feminist initiatives like “Womanhouse” (1972) at CalArts, Wilding has gone on to become a noted eco-feminist. The works here are mostly watercolors, but with sly titles like “The Vulva That Got Away” (2022). —Martha Schwendener

The 10 Best Booths at ADAA: The Art Show 2023

Anat Ebgi’s solo presentation of works by Faith Wilding stuns. Embracing her role as a dedicated eco-feminist, Wilding reflects both the beauty and decline of nature, drawing deeply from the artistic traditions of her home country, Paraguay, and South America more broadly. Her pieces radiate a sense of spiritual vitality, enhanced by the vibrant colors and vivid detail of her work. By juxtaposing older creations from the ’70s with new works from 2023, the L.A. gallery offers attendees a comprehensive journey through Wilding’s expansive body of work. —Maxwell Rabb

Gallery Rounds | Soumya Netrabile | Anat Ebgi

Nobody walks in Los Angeles but ducking out of the overheated concrete jungle and into “Between past and present/ Between appearance and memory,”—Soumya Netrabile’s vivid exhibition of wildlife, texture, line and color at Anat Ebgi—may inspire the urge to lace up your sneakers and take a meandering stroll through unexpected places. —Deborah Krieger

The Artsy Vanguard 2023: Soumya Netrabile

Netrabile’s attraction to visual storytelling is palpable in her work—brightly colored, loosely rendered paintings that immerse the viewer in teeming landscapes. Because Netrabile paints by intuition, her scenes are mostly imaginary: Plants swirl, Dr. Seuss–like, up a hill, or gauzy flowers blend into one another in a thicket. And now, after quietly developing her practice for decades, the artist is finally finding recognition for this work. At a flurry of gallery shows and fair presentations over the past three years, Netrabile has, in turn, fed a growing audience with her own vivid imagery. —Kerry Cardoza

Against the odds, mid-sized galleries expand into New York

“Returning to New York felt like a logical next step for the gallery and for our artists, many of whom have not exhibited in New York,” Ebgi tells The Art Newspaper. Finding the space in Tribeca “felt meant to be”, she says, as the expansion caps several years of planning and aligns with the gallery’s growth trajectory: “It happened so organically and ticked all the boxes for what we were looking for.” —Jillian Billard

Anat Ebgi’s Decade of Nurturing Artists and Breaking Boundaries

Ultimately, Anat Ebgi’s passion for the longevity of artists is communicated and shared across its community—a secret that distinguishes the gallery in the art world. “The collectors that we’ve cultivated are ones that are going to hold the work and are going to continue to support and are going to invest in the program,” Di Paola said. “They’re not people who are just searching for the next hot thing that can be flipped in six months. —Maxwell Rabb  

Anat Ebgi opens its first New York Gallery in Tribeca.

Anat Ebgi has announced the opening of a new 5,000-square-foot space at 372 Broadway in New York’s Tribeca neighborhood. The expansive new location boasts two floors, a mezzanine level, and dedicated areas for on-site storage and private viewing—a significantly larger space than its three Los Angeles counterparts. Moira Sims, most recently a director at Simone Subal Gallery, will join Anat Ebgi as the New York director. —Maxwell Rabb

BEADED CURTAINS, FAMILY LEGACIES, AND THE POLITICS OF IMAGE-MAKING

"Every time I move somewhere, it complicates my understanding of place, and it also complicates my understanding of Jamaica even further. But I think one of the formative aspects of growing up in Jamaica, for me, was being cognizant of the fact that history is always on the surface level — you can’t really hide from it. In America, there are ways in which there’s this invitation to forget, but you’re not afforded that in places like the Caribbean. So this sense of always feeling like you’re butting up against history, that friction of where the country wants to go, where it is right now, and its past — that is something that I’ve taken with me everywhere I go." —Cosmo Whyte