{"id":1982554,"date":"2026-06-10T14:00:00","date_gmt":"2026-06-10T11:00:00","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=1982554"},"modified":"2026-06-10T14:00:00","modified_gmt":"2026-06-10T11:00:00","slug":"independent-20th-century-finds-a-new-home-in-the-breuer","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=1982554","title":{"rendered":"Independent 20th Century Finds a New Home in the Breuer"},"content":{"rendered":"

[analyse_image type=”featured” src=”https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/06\/Andrew-Kreps-Gallery_Harold-Stevenson_Artist-Portrait_I20C_2026.jpeg?w=1024″]<\/p>\n

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\n\tIndependent launched Independent 20th Century in 2022 in the Battery Maritime Building, a Beaux-Arts landmark overlooking New York Harbor. This fall, the fair is moving uptown to Marcel Breuer\u2019s former Whitney Museum building, now Sotheby\u2019s global headquarters.<\/p>\n

\n\tThe fifth edition of Independent 20th Century will run from September 24\u201327 at the Breuer, bringing together 56 exhibitors and presentations devoted to artists and movements from across the 20th century. More than 130 artists will be featured, with roughly 80 percent of the presentations dedicated to one or two artists. For Independent founder Elizabeth Dee, the move marks more than a change of address.<\/p>\n

\n\t\u201cThis is a rebirth of a new concept for us,\u201d Dee told\u00a0ARTnews<\/em>. \u201cWe\u2019re moving from downtown to uptown. We\u2019re moving from an early 20th-century icon, the Battery Maritime Building, to the Breuer, which is a mid-century modernist icon.\u201d<\/p>\n

\n\tThe new venue has allowed the fair to grow substantially. Independent 20th Century will be nearly twice the size of previous editions, giving organizers room not only for more galleries but also for an expanded program of talks, performances, and events.<\/p>\n

\n\t\u201cWhen you have that concentration of galleries, you really start to give a sense of the fabric of the art world that\u2019s focused on this particular area,\u201d Dee said. \u201cIt\u2019s going to feel activated and engaged every single day. We want to create \u2018a happening\u2019 in the 20th-century sense and bring it into a contemporary context.\u201d<\/p>\n

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Lucio Fontana, photography by Frank Philippi, Milan, 1959. Courtesy of Nahmad Contemporary. Collection Fotomuseum Antwerpen, P\/2012\/206, \u00a9 Frank Philippi. \u00a9\ufe0f 2026 Artists Rights Society (ARS), New York \/ SIAE, Rome.<\/span><\/figcaption><\/figure>\n<\/div>\n

\n\tThe Breuer building opened in 1966 as the home of the Whitney Museum of American Art, and went on to house both the Met Breuer and the Frick Collection before Sotheby\u2019s moved in last year. The fair\u2019s focus on overlooked histories, rediscoveries, and alternative versions of the 20th-century canon feels particularly well-suited to a building that has hosted some of New York\u2019s most important museum exhibitions.<\/p>\n

\n\tThe partnership between Independent and Sotheby\u2019s was\u00a0first announced last year, shortly after the auction house\u00a0completed its move into the building. According to Madeline Lissner, Sotheby\u2019s executive vice president for its global fine art division, conversations began as the company considered how the Breuer could serve as more than an auction headquarters.<\/p>\n

\n\t\u201cThe Breuer is such a temple of modernism,\u201d Lissner said. \u201cAnd Independent 20th Century has modernism at its undercurrent. It was something that made a lot of sense.\u201d<\/p>\n

\n\tLissner said the fair fits into Sotheby\u2019s broader effort to position its flagship properties in New York, Paris, London, and Hong Kong as cultural destinations rather than simply places where transactions happen.<\/p>\n

\n\t\u201cWe view ourselves as a broader platform for cultural exchange,\u201d she said. \u201cIt\u2019s beyond just sales and auctions. It\u2019s about engaging people with art and culture at all stages of their discovery.\u201d<\/p>\n

\n\tThe exhibitor list reflects Independent\u2019s long-standing emphasis on curatorial presentations over booth-driven selling. Highlights include Hauser & Wirth\u2019s presentation of Emma Kunz, L\u00e9vy Gorvy Dayan\u2019s presentation of Yves Klein, Nahmad Contemporary\u2019s presentation of Lucio Fontana, and Andrew Kreps Gallery\u2019s presentation of Harold Stevenson. Other exhibitors include Marian Ibrahim, James Fuentes, Spr\u00fcth Magers, Thaddaeus Ropac, Salon 94, Ortuzar, Luxembourg + Co., and Fraenkel Gallery.<\/p>\n

\n\tFor Dee, the goal remains the same as it was when Independent 20th Century launched five years ago: creating a fair that feels less like a marketplace and more like an exhibition. With more galleries, more programming, and a building that carries six decades of museum history, this year\u2019s edition may be the closest the fair has come to realizing that vision.<\/p>\n

\n\tA full list of exhibitors is below:<\/p>\n

\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Gallery<\/strong><\/td>\nPresentation<\/strong><\/td>\n<\/tr>\n<\/thead>\n
Addison Rowe Gallery<\/td>\nEmil Bisttram<\/td>\n<\/tr>\n
Beck & Eggeling International Fine Art<\/td>\nErnst Ludwig Kirchner, Karl Schmidt-Rottluff, Hermann Max Pechstein, Emil Nolde, Erich Heckel<\/td>\n<\/tr>\n
Berry Campbell<\/td>\n\u201cThe Women of Stable Gallery\u201d<\/td>\n<\/tr>\n
Bueno & Co<\/td>\nJoan Mitchell<\/td>\n<\/tr>\n
Forum Gallery<\/td>\nRaphael Soyer<\/td>\n<\/tr>\n
Fraenkel Gallery<\/td>\nBJ Newton and Ralph Eugene Meatyard<\/td>\n<\/tr>\n
James Fuentes<\/td>\nAl Held<\/td>\n<\/tr>\n
Galatea<\/td>\nUbi Bava<\/td>\n<\/tr>\n
Bernard Goldberg Fine Arts<\/td>\nWilliam Zorach and Marguerite Zorach<\/td>\n<\/tr>\n
Gomide&Co<\/td>\nMegumi Yuasa, Shoko Suzuki, Kazuya Sukai, Chen Kong Fang, Akinori Nakatani, Manabu Mabe, Tomie Ohtake, and Massao Okinaka<\/td>\n<\/tr>\n
Marian Goodman Gallery<\/td>\nThe Betsy Ross Flag and Banner Co. and Multiples, Inc.<\/td>\n<\/tr>\n
Garth Greenan Gallery<\/td>\nRosalyn Drexler<\/td>\n<\/tr>\n
Hauser & Wirth<\/td>\nEmma Kunz<\/td>\n<\/tr>\n
Hirschl & Adler<\/td>\nWinold Reiss<\/td>\n<\/tr>\n
Michael Hoppen Gallery<\/td>\nPeter Beard, Bruce Bernard, Jean-Christian
Bourcart, John Deakin, Harry Diamond, Michel Gini\u00e8s, Charles Matton, Eadweard Muybridge, and Jacques Saraben<\/td>\n<\/tr>\n
i8 Gallery<\/td>\nRagna Robertsdottir<\/td>\n<\/tr>\n
Mariane Ibrahim<\/td>\nLorraine O\u2019Grady and Jose Gamarra<\/td>\n<\/tr>\n
Instituto de Visi\u00f3n<\/td>\nAna Mercedes Hoyos<\/td>\n<\/tr>\n
Alison Jacques<\/td>\nBona de Mandiargues<\/td>\n<\/tr>\n
Anton Kern Gallery<\/td>\nDavid Byrd<\/td>\n<\/tr>\n
Nicole Klagsbrun<\/td>\nJonathan Silver and Herbert Matter<\/td>\n<\/tr>\n
Andrew Kreps Gallery<\/td>\nHarold Stevenson<\/td>\n<\/tr>\n
Galerie Lelong<\/td>\nAlice Trumbull Mason<\/td>\n<\/tr>\n
L\u00e9vy Gorvy Dayan<\/td>\nYves Klein<\/td>\n<\/tr>\n
LOHAUS GALLERY<\/td>\nMagdalena Jetelova<\/td>\n<\/tr>\n
Luxembourg + Co.<\/td>\nWassily Kandinsky, Paul Klee, and Sue Fuller<\/td>\n<\/tr>\n
Mitchell-Innes & Nash<\/td>\nGeneral Idea<\/td>\n<\/tr>\n
Nahmad Contemporary<\/td>\nLucio Fontana<\/td>\n<\/tr>\n
David Nolan Gallery & Gi\u00f3 Marconi<\/td>\n\u201cThe Obsessive Image\u201d<\/td>\n<\/tr>\n
David Nolan Gallery & Marc Selwyn Fine Art<\/td>\nRodolfo Abularach<\/td>\n<\/tr>\n
Gallery Wendi Norris<\/td>\nMarie Wilson<\/td>\n<\/tr>\n
Olney Gleason<\/td>\nElaine de Kooning<\/td>\n<\/tr>\n
Ortuzar<\/td>\nMary Grigoriadis<\/td>\n<\/tr>\n
Niru Ratnam<\/td>\nRita Keegan<\/td>\n<\/tr>\n
Rodder<\/td>\nJoel Sternfeld<\/td>\n<\/tr>\n
Nara Roesler<\/td>\nAmelia Toledo<\/td>\n<\/tr>\n
Thaddaeus Ropac<\/td>\nOskar Schlemmer<\/td>\n<\/tr>\n
Rosenberg & Co<\/td>\nEsphyr Slobodkina<\/td>\n<\/tr>\n
Diane Rosenstein Gallery<\/td>\nEleanor Antin<\/td>\n<\/tr>\n
Salon 94 & RYAN LEE<\/td>\nDavid Hammons, Ed Clark, Norman Lewis, Camille Billops, Vivian Browne, and Emma Amos<\/td>\n<\/tr>\n
Richard Saltoun Gallery<\/td>\nManina<\/td>\n<\/tr>\n
SCHENKWEITZD\u00d6RFER<\/td>\nA.R. Penck<\/td>\n<\/tr>\n
Esther Schipper<\/td>\nLiam Gillick, Dominique Gonzalez-Foerster, Angela Bulloch, Pierre Huyghe, and Philippe Parreno<\/td>\n<\/tr>\n
Sies + H\u00f6ke<\/td>\nSigmar Polke and Gerhard Richter<\/td>\n<\/tr>\n
Spr\u00fcth Magers<\/td>\nJenny Holzer<\/td>\n<\/tr>\n
Craig Starr Gallery<\/td>\n\u201cFigure and Form\u201d<\/td>\n<\/tr>\n
John Szoke Gallery<\/td>\nPablo Picasso<\/td>\n<\/tr>\n
Hollis Taggart<\/td>\nFrank Diaz Escalet<\/td>\n<\/tr>\n
Leon Tovar Gallery<\/td>\nEdgar Negret and Omar Rayo<\/td>\n<\/tr>\n
Uffner & Liu & SEPTEMBER<\/td>\nReginald Madison<\/td>\n<\/tr>\n
Voena Gallery<\/td>\nMimmo Rotella<\/td>\n<\/tr>\n
Andy Warhol Foundation<\/td>\nAndy Warhol<\/td>\n<\/tr>\n
Weinstein Gallery<\/td>\n\u201cHilla Rebay & The Museum of Non-Objective Painting\u201d<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/figure>\n<\/div>\n<\/div>\n

[analyse_source url=”https:\/\/www.artnews.com\/art-news\/news\/independent-20th-century-heads-to-sothebys-breuer-1234788643\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"

[analyse_image type=”featured” src=”https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/06\/Andrew-Kreps-Gallery_Harold-Stevenson_Artist-Portrait_I20C_2026.jpeg?w=1024″] Independent launched Independent 20th Century in 2022 in the Battery Maritime Building, a Beaux-Arts landmark overlooking New York Harbor. This fall, the fair is moving uptown to Marcel Breuer\u2019s former Whitney Museum building, now Sotheby\u2019s global headquarters. The fifth edition of Independent 20th Century will run from September 24\u201327 at the Breuer, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[61,226],"class_list":["post-1982554","post","type-post","status-publish","format-standard","hentry","category-politics","tag-artnews-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1982554","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1982554"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1982554\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1982554"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1982554"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1982554"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}