A/D exists to make functional objects with painters and sculptors.
There is of course a long history of such objects. As the tradition is especially strong and well marked in the latter half of the twentieth century, we have been pleased to install an historical exhibition every year: John Chamberlain's couches, Yves Klein's pure pigment tables, Alexander Calder's jewelry were all made for very different reasons, but all fit this very particular definition.
Nonetheless, when we opened in 1989 the gallery's premise was perplexing even to the sophisticated visitors who found their way to our door, on the sixth floor of a gallery building in Soho. Little by little the idea has found a new currency; perhaps the renaissance of design in America has had it influence, though it seems of greaterimportance that the line between art and object is so frequently drawn in artists' studios. The branching of that slender tree has led to artists as different as Robert Gober and Andrea Zittel, Felix Gonzales Torres and Rosemarie Trockel. That small space where we stand is then a point at once traditional and forward looking. The gallery was invented to bring new work into the world, work that would not otherwise exist. The range–of artists, of objects, of relation between art and object–is extensive. The works are so different, one to the next, that only the overreaching definition of utility is common to them all. We hope that this web site will make it easier to see both that range and the complexity of those relationships.