For nearly four decades, more than 2,000 artists flocked to the alternative nonprofit Art in General (AiG), whose accessible and diverse programming helped propel the early careers of Pope.L, Cecilia Vicuña, Joan Jonas, Rirkrit Tiravanija, Patty Chang, Sanford Biggers, Kay WalkingStick, and many more. AiG was a bright star for emerging artists in New York City, where finding opportunity among the landscape of established museum institutions and galleries can sometimes feel like searching for a needle in a haystack.
That’s why it came as a significant blow when, in late 2020, during the throes of the coronavirus pandemic, the storied organization permanently shut its doors.
But sometimes endings set the groundwork for new beginnings. In August, AiG announced plans to return under new leadership. And despite not yet having a steady physical location, the organization has already mounted its first exhibition — a benefit show to support its future programming and operations, which is continuing as an online fundraiser through this Sunday, September 14.
The nonprofit’s resurrection comes at an acutely challenging time for the arts community, which is dealing with compounding pressures of political suppression, a reported slump in the art market, and a recent string of gallery closures.
“Commercial galleries just show painting, and shows in institutions run longer now — meaning fewer opportunities for young New York artists to have exhibitions,” artist and curator Josh Kline told Hyperallergic. “It’s great for everyone to have Art in General returning.”
As with so many others, AiG was a pivotal stepping stone for Kline: In 2007, the nonprofit gave him one of his first curatorial opportunities by inviting him to co-organize the weekend video show Values with Anthony Marcellini.
These career-building projects are at the root of the nonprofit’s reinvigorated mission, AiG’s new executive director Xiaoyu Weng told Hyperallergic. A Shanghai-born curator who has been with the organization since 2017, Weng was also recently tapped for Documenta’s artistic team.
“ We’re not looking to create a big splash or be the next big thing in the art world,” Weng said. “We’re more interested in how to do things one step at a time … We want to go down into the community and connect with people.”
Because AIG is currently without a permanent physical home, Weng said that the organization is hoping to use its “nomadic” position as a chance to forge global connections through collaborative pop-up exhibitions and discussion events. As a preview of the work that the organization aims to pursue going forward, its inaugural benefit exhibition was recently held at board member Yve Yang’s namesake Tribeca gallery.
The fundraiser features works by artists that have previously graced the walls of AiG, including Marina Abramovic and Patty Chang. Many of the show participants also have roots outside the United States, carrying on AiG’s legacy of international cultural exchange.
But aside from spotlighting AiG’s alumni, the show is billed as a continuation of the core mission of providing a platform for early-career artists. This spirit is exemplified by the curatorial direction of Qingyuan Deng, whose experience has primarily encompassed guerrilla-style shows in smaller venues.
“I wouldn’t necessarily be working with artists like Josh Kline or Gala Porras-Kim in other shows,” said Deng. (Deng has previously contributed to Hyperallergic.)
He also noted that while the fundraiser mostly features work by mid-career artists, it also includes newer voices like Sophie Kovel, a conceptual photographer and recent alumna of the Whitney Museum of American Art’s Independent Study Program. Her print “Labor Credit Union” (2025) is based on her ongoing investigation into hidden power structures, and is currently listed at $1,800. Brooklyn-based visual artist and musician Becca Albee’s archival print, “AIDS: the women, IR + PR + GR” (2017) delves into the history of feminist health and contemporary color therapy systems, and is currently listed at $1,200.
“A lot of the museums really wanna focus on artists of the same generation,” Deng said. “Art In General is less interested in that.”
