Roberta Smith discusses how various groups and gallery owners have found different ways of dealing with generic "white cube" gallery space. She explains that some spaces are successfull in selling work, while others do not sell work at all even when the work has potential. In the end, she explains that although many have approached the gallery differently, these examples do not usually survive for very long. Gallery spaces are important in there appearances. Sometime the "white cube" aids to the success of the work in it, other times it has no relevances and functions only as a space to hold the work.
What kinds of galleries in New York break the generic "white cube" look?
How does a gallery become alternative space?
Is it important for galleries to be transparent?
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