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So when Beverly’s finally moved into 297 Grand Street, founder Leah Dixon wanted a party—of course. But she knew there would also be some grief: for the old location, for how much New York had changed since COVID, for how rocky the path to reopening had been. She had a vision of everyone at the threshold waiting to enter the new spot together, sharing in the experience of being locked out. “No one gets to just walk right in,” Dixon, who is also a sculptor, explains. Sure, she had been building out the physical space for months. “But it’s not Beverly’s until everyone comes inside.” To understand why so many people would stand outside for an hour in 48-degree weather waiting to get into a bar that doesn’t advertise, doesn’t have any celebrity or influencer ties, doesn’t serve some crazy signature cocktail or food item, and doesn’t have a big financial backer, you have to understand the wide web that Beverly’s has woven in the art world. Since the original location opened over a decade ago, Beverly’s has shown the work of about 300 artists, including Michael Assiff, Zachary Fabri, Emily Weiner, Edward Salas, Carlos Rosales-Silva, and Azikiwe Mohammed. It’s given artists jobs that fund their work. It’s been a site where friendships and romances are forged, and deals between collectors and dealers are struck. The Beverly’s team has installed satellite exhibitions in Puerto Rico, Miami, and Mexico City, where they have participated in the Material Art Fair for the past 10 years. And Beverly’s is just as likely to host a zine fair as it is a late-night DJ set or a political meetup. It’s a 21st-century Cheers for a certain kind of arty downtown crowd, powered by a punkish DIY spirit and an epic amount of determination.Macklin Celebrini Tooth Necklace Shirt
“I feel like Beverly’s in itself is pretty much an experimental artwork that has morphed and sustained for over a decade in New York City, and supported generations of artists through multiple iterations of what it was able to be,” says Anne-Laure Lemaitre, an independent curator. “It’s a space where anything is possible. Everything is happening through sheer love and passion, which for a lot of us, that’s kind of the only option,” says Rosales-Silva, who in addition to showing his own paintings with Beverly’s is helping grow its nascent nonprofit. And Beverly’s doesn’t just appeal to the up-and-comers. The multidisciplinary artist Jo Shane, who at 70 has been a New York City artist for the past 50 years, calls Beverly’s a “safe haven.” She first visited 21 Essex in 2015. “Beverly’s represented that ability to be respected as a space that showed cutting-edge work, but also was outside the gallery system and had its own life,” she says. “At the time, I would’ve cut off my right arm to show there.” (She did exhibit her installation work at Beverly’s in 2018, both arms intact.) Now, one year into operating the new permanent space, Dixon is in a reflective mood. Can they re-create the magic of Essex Street on Grand, at a time when the neighborhood, the art world, and the broader culture have all drastically changed?
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