Initially the gallery showed work from the studio furniture movement, which in an active way meshed with my interests in group selection and collective creative processes. The work had the "feel" of installation art (which is what hooked me in) and I wanted to show it in a way that translated that feeling. At their core, these ideas are the driving philosophical arguments the gallery is essentially about, but in the reality of a commercial enterprise there is a more materially present product required to reflect those arguments. When I met up with Ken Price in 1993, I found an artist whose work embodied the gallery's conceptual purpose—it was all there crystallized in his art.
Price was a galvanizing figure among artists in Los Angeles, where there had long been a constant struggle for recognition consistent with that of their New York counterparts. But the LA environment, especially within a sphere of artists whose careers began in the 1960s, was extremely tight-knit and embodied the spirit of group selection survival. Throughout the 1990s and early 2000s, the gallery became identified, mostly by association, with Los Angeles, and specifically with artists of Price's generation, though geographic identity was never the intent.
In the past three decades the industry itself has chronically morphed and undergone profound cultural and economic change. The internet and email, and later, social media, are the most obvious innovations. Various art market analysis sites such as artnet began an era of transparency that would define an inclusive environment for valuation and expand markets exponentially. But also the cultural attitudes toward collecting have been in a constant state of flux. "Lifestyle collecting", a term conceived in the nineties, has realized its natural progression in Instagram, fed by the constant inclination to share images of art one owns, admires, desires, or wants to sell. Art fairs dictate the gallery's public identity more than exhibition programming simply because of the concentrated volume of exposure. That's not an ideal situation for either the collector or the gallery but it's an outcome of an attitudinal shift in collecting that seems to be here to stay—at least for now.