Pace Gallery opens Chelsea HQ with Calder, Hockney and more

The lofty 75,000 sq ft New York flagship designed by Bonetti/Kozerski Architecture heralds a new era in the gallery’s five-decade history

Inside view of the gallery, with different installations shown. The gallery is all white, with a gray floor.
Installation view of ‘Calder: Small Sphere and Heavy Sphere’, until 26 October. Photography: Tom Powel Imaging. © 2019 Calder Foundation, New York / Artists Rights Society (ARS), New York
(Image credit: Tom Powel Imaging)

While a handful of Manhattan galleries have flocked south where Tribeca is emerging as a new cultural destination, it’s the international blue-chips who are banking on Chelsea’s staying power. The recent opening of Pace Gallery’s 75,000 sq ft headquarters, designed by Bonetti/Kozerski Architecture, cements the powerhouse’s presence in the city’s longstanding art hub with a multi-functional complex that disrupts the contemporary gallery model.

Boasting 16,500 sq ft of exhibition space across eight floors, the 25th Street building greets visitors with a gallery and a light-filled public research library on the ground floor. A sixth floor terrace offers panoramic views of the nearby Hudson River, with a 4,800 sq ft outdoor space protected by a multipurpose top floor reserved for performances, screenings and large-scale installations, such as Fred Wilson’s display of five Ottoman Era-inspired Murano glass chandeliers.

Outside view of the Pace Gallery. 8 floor-concrete building, with panoramic windows at the top.

Pace Gallery, 540 West 25th Street, New York. Photography: Thomas Loof. Courtesy of Pace Gallery

(Image credit: Thomas Loof)

The collaboration between the gallery and Bonetti/Kozerski Architecture manifested as an organic process of experimentation from the project’s initiation in 2014, ranging from techniques used for exteriors to different floor materials, such as bleached oak or cement, to accommodate various artistic mediums and colours on the walls. For its first art gallery project, the New York firm blended tradition with ‘a modern silhouette’ to design a building that pays homage to Pace’s five-decade history of fostering cutting-edge artists.

Enrico Bonetti explained to Wallpaper* that the team initially planned to use concrete for the façade. However, the challenge to find good-quality concrete in the US and its impact on construction speed led to the discovery of two alternative materials. Volcanic stone quarried from Sicily’s Mount Etna – a resistant material with glossy surface – was used for the first time in New York, while aluminium foam covers three other exteriors and provides a sculptural coating with its dramatic punctured surface. Inside, a lighting system built in collaboration with Arnold Chan from London-based Isometrix Lighting Design is smoothly tuned to artists’ various preferences. ‘Our research showed most European artists prefer ambient lights while American artists use slightly warmer spotlights,’ said Dominic Kozerski.

The building’s inaugural exhibition programme reflects the diversity of the gallery’s roster. In addition to 10,000 volumes and Pace archives, the research library is reserved for smaller exhibitions, starting with Moroccan artist Yto Barrada’s abstract wallpaper and works on paper inspired by architect Luis Barragán’s books at his Mexico City home. The ground floor gallery does justice to Alexander Calder’s mobile sculptures and traces the series’ evolution from 1920s through the 1960s.

Young painter Loie Hollowell makes her Pace debut on the second floor with mesmerising abstract paintings with three-dimensional touches and bold colour palettes. Third floor hosts another master, David Hockney, whose new 24-panel drawing, La Grande Cour, seamlessly stretches over two walls to orchestrate a vista of Normandy. Third floor exhibits late American photographer Peter Hujar’s intimate black and white pictures of friends and nature. Finally, the fourth and fifth floors are reserved for offices, showrooms, and private gatherings.

One of the rooms with panoramic windows at the Pace gallery. Three extravagant chandeliers are hanging from the ceiling. Two are black and one is white.

Installation view of ‘Fred Wilson: Chandeliers’, until 12 October. Photography: Guy Ben-Ari. Courtesy of Pace Gallery

(Image credit: Guy Ben-Ari)

Portraits of different people in black & white photography are framed in white frames and hung on all white walls in the gallery.

Installation view of ‘Peter Hujar: Master Class’, until 19 October. Photography: Jonathan Nesteruk. Courtesy of Pace Gallery

(Image credit: Jonathan Nesteruk)

Three abstract pieces of art are hung in the all-white gallery room. The art is done in strong colors of blue and red, on a darker background.

Installation view of ‘Loie Hollowell: Plumb Line’, until 19 October. Photography: Melissa Goodwin. Courtesy of Pace Gallery

(Image credit: Melissa Goodwin)

On a pale blue wall that has a repeating pattern of folded paper, five pieces of art are hung. The art represents different patterns of paper folded in different ways, and in different colors.

Installation view of ‘Yto Barrada: Paste Papers’, until 14 September 2020. Photography: Kyle Knodell. Courtesy of Pace Gallery

(Image credit: Kyle Knodell)

Inside one of the rooms in the Pace gallery, on gray walls art installation is hung. To the left, we have a piece of art that is done on many canvases but together, they make a whole. The art shows a house with a huge lawn in front of it. On the wall to the right, we have four pieces of art, all showing a house from different angles.

Installation view of ‘David Hockney: Le Grande Cour, Normandy’, until 19 October. Photography: Rich Lee. Courtesy of Pace Gallery

(Image credit: Rich Lee)

Outside view of the gallery building. Brown exterior, with panoramic windows at the top, and floor-to-ceiling windows on the rest of the floors below.

Photography: Thomas Loof. Courtesy of Pace Gallery

(Image credit: Thomas Loof)

Outside, street view of the gallery building. The side of the building is gray concrete. On the front, we can see panoramic windows on the top floors, and floor-to-ceiling windows on the rest of the floors below.

Photography: Thomas Loof. Courtesy of Pace Gallery

(Image credit: Thomas Loof)

A detailed view of the gallery building from the outside. The side of the building is gray concrete, with a staircase.

Photography: Thomas Loof. Courtesy of Pace Gallery

(Image credit: Thomas Loof)



Pace Gallery
540 W 25th Street
New York


Osman Can Yerebakan is a New York-based art and culture writer. Besides Wallpaper*, his writing has appeared in the Financial Times, GQ UK, The Guardian, Artforum, BOMB, Airmail and numerous other publications. He is in the curatorial committee of the upcoming edition of Future Fair. He was the art and style editor of Forbes 30 Under 30, 2024.