BushwickGallery.com is the 1st Internet-based gallery in Bushwick. In our monthly shows we feature and endorse emerging artists from the Bushwick area. Check out the art on our website, or at one of the pop up offline openings every time at a different Bushwick location. All the art is affordable, for sale, and we make prints too!

We are blogging and reblogging everything about Bushwick art! Question? Tips? Suggestion? Email the tumblr editor, Terri Ciccone!
Posts tagged "Bushwick"

By Maria Gotay

FUN at factory Fresh

Last Saturday night came and went in a flash! With 15 Bushwick art spaces participating in Beat Nite and additional 10+ in Bushwick Afterhours, Saturday night was a huge success for artists, curators, galleries, and art-enthusiasts alike. I visited around 15 galleries total across the ‘hood’s sprawling streets and avenues from Morgan to Dekalb. Personal favorites were Forest Ave’s huge, splendid, and flashy English Kills Gallery, which featured the show The Permanent Collection: Volume 2: My Own Private Serpico. The exhibit sampled drawing, painting, and sculpture and the most stunning works in the gallery came from Don Pablo Pedro, who mixed sublime and classical imagery in his large-scale paintings, making them both alarming and intruiging.

english kills

On the other end of the spectrum, I thoroughly enjoyed the understated and carefully put-together 950 Hart Gallery‘s “Go Figure” exhibition deeper into Bushwick. The collection gathered works that examined different methods of creating figurative art. In three rooms bursting with drawings and paintings, they showcased adventurous yet meticulous artworks- favorites coming in fantastical neon portraiture by both Antoinette Johnson and Raquel Echanique . This gallery was the most local-feeling of all the spaces I visited and is a sure building block in the non-Chelsea Bushwick art scene.

950 hart

All in all, it was an event that was a perfect opportunity for the community of this neighborhood to get together, enjoy the new works, have a beer, and become inspired by the great energy, praise, and momentum Bushwick’s art scene has gathered.

By Terri Ciccone

Ben Godward. “Let the blood show (a piece of my circus),” 2012, urethane foam, beer bottles, and mixed media

Imagine taking a tour of an art gallery through someone’s mind, where each and every fold of the brain is another corridor leading you to a brilliant piece someone had once seen or thought of.  What I Know, a group show curated by Jason Andrew is currently on view at NYCAM Gallery in Chelsea feels exactly as a physical tour through an art gallery of the mind.

Austin Thomas. “Survival Manual”, 2012, ink, graphite, and collage on paper

What I Know is a show that features over 40 artists from the tight nit and burgeoning art scene in Bushwick that the curator and collector himself is very much a part of.  The opening night was packed with a sort of who’s who of the Bushwick art scene, those one would normally see hanging around Norte Maar or Storefront. It was as if a space ship had sucked them all up and dropped them off in Chelsea.  Some speculated that this was the slightly less than unintentional plan of Jason Andrew himself, to swipe the artists from their homey-digs as Chelsea big-wig Luhring Augustineopened their new space in Bushwick on that very night.

Ali Della Bitta. “Rugose,” 2011, cast aluminum and resin

There is less than a visual theme that ties the show together.  Paintings seemed to work with drawings, drawings with sculpture, sculpture with collage. But despite a theme not being visibly apparent, it was clear that these pieces were tied together by community. In a statement in the gallery, Andrew ponders the fact that we live in a very uncertain era, and all we can really rely on is our creative wits. So whether it was Paul D’Agostino’s collage of clock cut outs ticking along near Brooke Moyse’s abstract painting “Kalied,” or Ben Godward’s giant blob of paint that looks like it had once wreaked havoc on a street, swallowing bottles and license plates in its colorful path – these ideas juxtaposed against one another in one space created a solidness and a comfort.

Sean Pace. “Super Natural,” 2010, wood and steel

What we know, or can take from the show, is these great works are being thought of and created, and don’t just exist in a Bushwick vacuum. The show is unapologetic in being simply a massive collection of great, solid pieces. And because of that, there was a different feeling in the air in Chelsea that evening. A shift, a change, a quake could be felt in the art world.

Jackie Sabourin. “North Country Seedlings”, 2012

By Katarina Hybenova

The remaining 500 openings in Bushwick last weekend had a common topic for discussion: Did you go to Luhring Augustine opening? What did you think about the mega-space? 

We have discussed the potential impacts of having a fancy Chelsea gallery taking a slide on Bushwick DYI hippness back and forth, and then we discussed it once again. It seems like all that remains is to acknowledge that they are here, and to hope that their presence will bring as many positive things as possible. Hopefully, they will acknowledge us back, make a studio visit here and there, and discover local emerging talent. Some of us were asking how does one even make them notice us? How does one network with art world celebrities? Well, we don’t know either. But here is what you definitely should not be doing:

#1 Stare creepily at Marina Abramovič, because the fact she starred at you at MoMA gives you enough of an excuse.

#2 When bumping into Charles Atlas in the bathroom, ask casually whether his barber takes hallucinogens.

#3 Give wrong directions to that middle-aged lady who is scared to death trying to navigate her GPS from Grattan to Knickerbocker crying she doesn’t even know where she is… Send her to Johnson Avenue for a late night Bushwick scenic walk.

#4 Demand a free can of Tecate from Luhring Augustine employee with British accent. Insist you need it to process the trippy installation!

#5 Roberta Smith will surely reserve a spot for you among her Top 2012 if  you only perform that piece you’ve been practicing with your roommates in your loft. Yes, perform right there at the opening. Naturally, her friends are interested too.

#6 Ask that artsy middle aged French lady next to you at the opening to tell you stories about Henri Matisse when he was still alive.

#7 Just stand there. Be naked while at it.

#8 Wonder where all these old people came from and why they keep staring at all those numbers. Wonder aloud.

#9  The best way to get the attention of Jerry Salz is to steadily scream in a high pitched voice (we swear).

#10 Stalk Kathy Halbreich home. For the future reference, you need to know where she lives.

By Deborah Brown 


Photos by Katarina Hybenova

Last Friday night in Bushwick the normally desolate strip of Knickerbocker Avenue at Johnson was transformed by the inaugural opening of Luhring Augustine Bushwick. The well-regarded Chelsea gallery opened its long-awaited Bushwick annex with a major show by pioneering video artist Charles Atlas.  Throughout the three hour opening–normal for Bushwick but long by Chelsea standards–a small crowd milled around outside the well-lighted, elegantly transformed former warehouse space. Well-heeled guests arrived in Dial cars while local artists gave directions to first-time visitors clearly flummoxed by the unfamiliar geography of the neighborhood.

Inside was a scene of contrasts.  Many local artists were in attendance including William Powhida, Stephen Truax, Will Pappenheimer, Carol Salmanson, Letha Wilson, and Max Warsh of the gallery collective Regina Rex.  But unlike openings at galleries run by local artists, many attendees were not Bushwick regulars. Marina Abramovic, Kathy Halbreich, Jerry Saltz and Roberta Smith could be seen in the wall-to-wall crowd, along with other art-world luminaries.  For much of the evening, co-owner Roland Augustine took up a post front-and-center in the foyer to greet arrivals, a gesture disarmingly gracious for a Chelsea gallery owner. Nonetheless, the contrasts and juxtapositions of the familiar and the exotic left many wondering whether this represented the end of the Bushwick art world they knew, an exciting new chapter in the history of the local art community, or something in between.

The artwork on display, Charles Atlas’s video installation, The Illusion of Democracy, is a tour de force. Entering the gallery through a dark corridor, the viewer encounters three darkened rooms open to one another onto which the videos are projected. Black and white images of geometric patterns unfurl, and cascades of numbers unspool in rapid succession.  James Panero, Managing Editor and art critic of The New Criterion, remarked that the experience was akin to being in “The Matrix,” a world in which humankind has been atomized into avatars of code.  The audience became part of the installation as the projections played across bodies and faces, enveloping everyone in the artist’s digital cabinet of wonder.

Luhring Augustine’s building had been under construction for over a year, resulting in a transformation largely invisible from the outside. The building’s red brick is painted a sober grey. The gallery’s name appears modestly on one of the entrances to the building. Inside, however, the full extent of the resources brought to bear is immediately apparent.  The space is huge and beautifully finished, capped by a wooden, cantilevered ceiling. It is as if a Chelsea space had been recreated in Bushwick–not entirely unexpected, but arresting to those used to the neighborhood’s DIY ethos and aesthetic. Given the gallery’s location across from a working cement factory and next to a Won Ton warehouse, Charles Atlas’s flickering videos call to mind an end-of-the world scenario, a Bushwick Gotterdammerung or Twilight of the Gods.One viewer called it “enchanting,” a response that seemed to capture the frisson of excitement and wonder surrounding the arrival of this new presence on the landscape of the Bushwick art world.

Bushwick’s new neighbors offered gracious words of welcome. Luhring Augustine’s director, Lauren Wittels concluded: “The attendance was great, with so many neighborhood artists.  The work is fantastic.  The vibe was all positive. We couldn’t be more pleased or proud.”

By Katarina Hybenova

The Active Space (previously known as Curbs and Stoops) has some sweet news! After months of reconstruction, they have finally finished their gallery space. This really is a huge reason to be excited! When I say a huge reason, I mean exactly 15,000 square feet of a reason!! In other words, the Gallery at The Active Space could easily be the largest gallery in Bushwick….


The floors in the gallery are refurbished hard wood, the space has tall ceilings, and its layout is really interesting. It’s not just a white cube, but one of its longer sides is divided by smaller walls into several open “rooms”, which promises interesting opportunities for installation of art work. The Gallery will also soon have a separate entrance from Johnson Ave.


The Gallery of the Active Space will be open to the public for the first time next week on February 24with their inaugural art show ”Dreaming Without Sleeping” of street artist Criminy Johnson aka QRST.


As for the future plans, Director Ashley Zelinskie revealed that they are planning a solo show of a popular Bushwick painter, gallerist and activist Deborah Brown. “She hasn’t seen how big the space is yet,” Zelinskie giggled.

Together with the Gallery, The Active Space finished reconstruction of the first floor, while they have been using only the second floor last year. Zelinskie says that the first floor now provides 10 economy sized studios for rent. The cheapest is 175 square feet big and costs only $350 per month. Additionally, there are some storage spaces for rent on the first floor too.


The Active Space is a progressive art center and art studio building located at 566 Johnson Ave in a converted feather factory. The space opened in February 2011 during a popular Bushwick gallery walk, Beat Nite. Throughout the year, The Active Space - under the lead of young artist Ashley Zelinskie – rented most of the available studios on the second and third floor and organized several art shows in the space. The Active Space is trying to provide their artists not only with a space to work, but also with a community experience. The artists working in the building are regularly featured in the group shows The Active Space organizes.


By Terri Ciccone

It’s kind of hard to sit back and then remember what it’s like being a kid. Not your “childhood,” but being “a kid” specifically. A friend slaps a bracelet on your wrist that immediately curls up. Your brother yells that the Teenage Mutant Ninja Turtles cartoon is on, but your sister is occupying the TV watching 90210. You conquer your Super Mario Brothers on Nintendo as you sit among metallic Pogs and trippy Lisa Frank folders, snacking on War Heads and Fruit Roll-Ups. All the while a toy is beeping somewhere in your closet (you assume it’s the Tamagotchi you have been neglecting.)

Ken Kosces’ work chooses to remain in this world. His work and living space could easily be confused with a little kid’s bedroom, and this is something he would probably take as a compliment. Ken is one of the artists in Mushroom Universe and you can check out his art atBushwickGallery.com.

It’s hard to take a step without getting a pom-pom, a googly eye, or a pixilated cut-out of 1990s era icon stuck to your foot. Bursts of color seem to mask every surface of the space, and while it at first seems like child’s play, something deeper begins to resonate. Something starts to churn up in your mind, you seem to be brought back to a different time.

His pieces are colorful, explosive and a bit chaotic. In his collages, paper is layered upon paper. Distorted yet recognizable images of video game landscapes, pixelated guitars, furbies, sports stars like Magic Johnson and TV stars like Brenda from 90210 cover each other up, fighting for your eyes’ attention, and your mind’s memory on the neon poster board. Some collages are a mix, with a painted background or a drawing in the background, layered with paper, googly eyes, pom poms and cut-outs.

“You go to art school, they try and hit you with all these classical ways of doing art, the history of art and these academic ways of learning how to draw and paint,” explained Ken. “But you actually forget the things you do when you’re growing up before you get to a university, and I kind of realized lately there’s something messed up about that.”

While Ken explained this method to me, he shuffled through different shapes of paper cut-outs and video game music that he had created, and plans to incorporate into his work, played in the background. “It’s like reconnecting with things outside of like formal training and embracing like, stupid materials arts and crafts and kids materials.” He begins to toss the cut-outs down onto a painting, letting them fall and land where they please, then rearranging them so slightly.

“I’m a painter when it’s all said and done, an abstract painter. The difference is I’m not using paint in the way they did in the ’50s. I’m trying to use these pieces of things.” He throws down the first “piece of paint,” an image Shaquille O’Neal which lands sideways on the canvas. Another makes a “dat” noise as the cut-out hits the posterboard. This time it’s Chris Mullin, followed by Dennis Rodman and Charles Barkley, until a mini basketball team artfully presents itself. He begins to fuss with the pieces.

“I accumulated this as a consumer, as someone invested in pop culture and all the stupidity that that comes from. But now that I have them I’m transforming it to something else and as the formal training of an artist goes and the formal eye of the artist to make this the most interesting way,” Ken explained very matter-of-factly.

I found his use of the word “stupid” which he used throughout the interview very interesting. He described many of the materials as stupid, as well as a lot of things referencing pop culture. But I think he means it in the way that pop culture, however low brow or “stupid” it can be, has a great power. At this point, I asked Ken about something that I observe happen often among museum goers that may not be so into the arts. What if when people see his work, they become intimidated or confused? If they don’t find the immediate answer in his pieces that they are so used to getting, they might use the “a five year old could do that” defense. Those dreaded words I often hear when someone seems intimidated by abstract art. “A 5-year-old can do it? Well turn it on its head and do it like a 5-year-old. That’s my response. It challenges high art, it challenges museum art and popular culture and the perceptions of art.”

Ken’s medium is not paper, not googly eyes, not glue or paint - it’s pop culture from his generation. Pop culture, as “stupid” as it may be, has the power to reach and identify with millions of people all over the globe. It can form groups and commonalities across races, genders and classes and even amongst those who don’t speak the same language. It has the power to make waves, fight for change and say things and have them heard.

“I’m just trying to make something beautiful when it comes down to it,” Ken said, “and it’s unapologetic in its nostalgia.” I wouldn’t call that stupid at all.

…. simply awesome! The art opening and the 90s dance party was crafted in the kitchen ofBushwickGallery.com, our artsy lil’ sister, and brought to life thanks to our dear friends 950 Hart Gallery.  Last Friday night has proved once again that the power of creative collaboration is amazing.

To sum it up, BushwickGallery.com is the 1st Bushwick gallery based purely in the virtual space. Its mission is to endorse emerging artists of the area, and to bring art closer to young people using the power of the Internet. In monthly (usually small group shows), is BushwickGallery.com focusing on discovering the talent! The L Magazine named BushwicGallery.com 1 of the Top 5 New Galleries in Brooklyn of 2011!

Photo by Katarina Hybenova. From the hanging process.

However, every online art show begins with an offline opening, every time at a different Bushwick art space.

Mushroom Universe is an art show, which explores the spotty memories, bringing forward the perceptions, images, shapes and colors of the lavish decade of the 1990 in the works of Andrea Bergart, Matthew Mahler and Ken Kocses. For the offline opening Bushwick Gallery teamed up with 950 Hart Gallery, which are a great chill art space located in a duplex loft complex off Dekalb stop (L train). These guys have been around since 2010, and Mushroom Universe was their 20th art show. We can’t thank them enough for the relaxed vibe and great atmosphere of their home they shared with us… Oh, and the dance party was amazing. About 150 people showed up and a bunch of them joined us for absolutely rad dance party in the 1990s style after 10pm. Apropos, the dance party was insanely good. DJ Jojo Soul was spinning and spinning hard. You are probably imagining amazing, so we now need you to close your eyes and multiply this feeling by 1000. Yes, now you’re close to how amazing he was.  You will definitely hear more of this guy on Bushwick Daily soon.

The art was fresh! Energetic colors, geometric patterns, collages, pixels, Super Mario Mushroom, all was there…. Andrea Bergart with her geometry 90s styled oil paintings was a great bridge between totally insane Ken Kocses and geometry clean Matthew Mahler. For those of you who missed it, and would like to see the physical art, we have some good news. The show will be hanging at 950 Hart Gallery until the end of this week. If you want to see it, email us, and we can make it happen every day after 6pm. If you want to enjoy the art, but you can’t close your laptop and leave (we can understand these moments), just go to BushwickGallery.com and browse endlessly!!

Photo by Terri Ciccone. Happy kids playing Nintendo at the opening.

Detail of art work. Ken Kocses: Super Mario World.

Detail of Art Work: Andrea Bergart: Untitled 1

Detail of Art Work: Matthew Mahler: Synth Magic

By Terri Ciccone

The first photo by the author, the rest of the photos by Photos by Jakop Nazaretyan Photography, the courtesy of Factory Fresh.

Skewville, a set of  street art twin brothers, celebrated their birthday last Friday at Factory Fresh. Instead of cakes, games, line dancing and presents, there was beer, wooden sneakers,  giant dice used as chairs, and the musical styling’s of the band Anxiateam, comprised of the artists responsible for the gallery’s outdoor spaces, Jon Burgerman and Jim Avignon.

When you walk in the gallery, it’s as if three decades of Skewville’s work was put in a pile and then blown up. Every inch of the space is covered in the duo’s very recognizable style. The big block wood and/or cement cut outs that spell thinks like “skew” “NYC” “Hype” and “power” among many other things commanded the space, marking it as their own.

Marking territory is a practice Skewville is very familiar with.  One piece in the show is a lawn mower designed to mow the words “Keep On the Grass.” And more famously, strewn about the space is Skewville’s “When Dogs Fly” pieces. Ever see sneakers strung up over telephone lines in the city? Skewville has been practicing this ritual since they were children, and look at it as a way of making their mark in a place. “When Dogs Fly” refers to the busted shoes that adorn your tired achy feet, or “dogs”. Each sneaker is painted on wood, and then can be cut out and strung up over telephone lines. Skewville has been peddling this practice all around the country, customizing certain dogs to certain places, and leaving their mark on the wires.

This show is like entering Willy Wonka’s factory, but instead of imaginative versions of  sweets we have that of street culture. There are recognizable bright images and objects everywhere, cement blocks, fire hydrants, dice, traffic barriers, and yet they are all “wonkafied,” or Skewvillified into a dream land of cartoon-like and stylized pieces to reflect the impression this team has left on their city.

Twin Peaks. Space Oddity. Synth Magic. Odd Blood. The names of the paintings by Matthew Mahler document the journey you undertake when you take a dive into his work. References to the video games, encounters with aliens, rad 1990s TV shows, Native American motives… The visual language of Matthew Mahler is peculiarly odd, magical, and fascinating. Yet his works feel so familiar to someone who grew up in the ’90s, and was surrounded by the same pop culture and the common objects of fascination. Matthew Mahler says that it took him a long time to figure out how to create art that represents what he knows the best. He talks about his MFA break as the time when he was able to fully focus on his work and make a lot of progress in finding himself.

Matt has been a vital part of the Bushwick arts community. Last year, he and his buddy artist Jonathan Terranova opened a gallery located in the basement of a Ridgewood building. They named it Small Black Door after, well, its small black door. They have been putting up amazingly refreshing group art shows focusing on underrepresented artists from the Bushwick area.

Matthew is also one of the artists in Mushroom Universewhich is the second exhibition of the internet-based gallery BushwickGallery.com. You can catch up with him at the offline opening of the show this Friday at 950 Hart Gallery.

I caught Matt in his studio in the industrial part of Greenpoint. He was just about to start working  on a drawing. He was using a ruler and wide markers. “There is something wrong about using markers for fine art. That’s why I like it,” Matthew was laughing. We chatted about Small Black Door, his MFA experience and the role of the 1990s in his work…


Are you going to show your work eventually at Small Black Door?

I am curating a show there in April, and my work may be part of it. It won’t be “The Matthew Mahler Show,” though.  It will be a group show, and I feel like it makes sense to include my work.

I keep asking this of many people. How do you feel about self-curatorial endeavors?

It can be done, but has to be done in a tasteful way… I don’t like when somebody curates a show, put themselves in it, and then they even use their own image for the postcard…. By the way, would you like some water? I only have these shot-sized cups…

Yeah, sure…

[We do shots of water.]

Can you describe the role of the 1990s in your work?

The impact of the 1990s in my work is pretty overt. Having grown up in that time; meaning literally becoming a mature person,  I can’t help but include that experience. I don’t mean in a nostalgic or comforting way, but the 1990s are what I know. I have always made work based on my experience, and I can’t deny that I grew up as part of that generation with a certain visual language. I think that’s why I am so drawn to using it and adopting it as my visual language.

Before I could get where I’m now I had to learn a lot of things the hard way. Before I could innovate, I had to imitate. It sounds cliché, but I literary had to practice making somebody else’s artwork before I figured out what it was that I wanted to make. I had to figure out whom it was I wanted to make artwork for. I feel like many people make their work for specific audience that has been around for a long time. It makes sense, because people who are 50-60 years old are of the demographics that is most likely to buy work. They feel comfortable with things that look certain way…I don’t want to be misunderstood that I make work to sell. That’s obviously not what this is about; my work is about feeling that I’m alive.  Making art makes me feel like I am here and I contribute in some weird way…

But I definitely think about who I make my art for; who is my audience. I believe I make work for my peers. I don’t know if I could make work for people who are 30 years older than me, because I wouldn’t be as familiar with their visual language as I am with my own generation.

You graduated from an MFA program 2 years ago. How was it to come to Bushwick and become a part of this community?

You go from being a part of one community that is very protective, to another. Grad school provides you with a community where you are sheltered from the outside world in many ways. Then all of the sudden you’re put out there in the real world.  It’s shocking and exciting, all at once. I’m very happy to be out of grad school.

I think that the Bushwick arts community is very welcoming and inspiring. Just the fact that there is a place like Bushwick where there is room for everyone! Maybe because it’s still kind of on the young side…But during my first five years in New York, I never really felt like I belong anywhere, and now for the first time I feel like I can participate. I feel comfortable with what I’m doing in Bushwick., and I don’t have to play with a specific crowd…

How did you come around to opening your own gallery?

I had the opportunity, and I felt like I had to take it.  When the opportunity presents itself, at any point in your life, but specifically in New York where opportunities come and go in different frequencies, you should take it… Also I know so many great artists who don’t get their opportunity to show, and we wanted to put these people out there. Our openings are like parties for everybody. It’s a celebration of the people that participate in the show, and of people who come to see the work.

Small Black Door is in Ridgewood. How do you feel about Ridgewood these days? Do you think that Ridgewood will be the new Bushwick?

I don’t think so. I think that Ridgewood will always be a really beautiful cousin of Bushwick, and I think that Ridgewood will be pretty content with that. I think it’s a pretty special place, because it allows those who live and work there to be involved in with what’s going on in Bushwick. But also still be in distance from it so that we can do our own thing. I think Ridgewood is really cool…

By Katarina Hybenova

“56 Bogart? What?” Christina Ray, the co-owner of Soho gallery Kesting/Ray , was pretty surprised when I told her about the rumor that the Bushwick location of her gallery was supposed to be at 56 Bogart, the new gallery arcade across the street from Cafe Swallow. After the reports from Artnet and The L Magazine, we know that the location of Kesting/Ray is 257 Boerum Street in East Williamsburg.

A building in the shape of a little hangar seems to be very familiar to almost everyone in Bushwick. I was curious about new location of Kesting/Ray, and went to chat with Christina Ray directly. Christina - accompanied by her cute orange cat – showed me their new space, which is still partially under reconstruction, and she told me that Bushwick location won’t have regular gallery hours like the Soho gallery. “It will be an event and project space,” she said.  Christina also said that they would like to experiment in Bushwick more than they do in Soho, and they have already made some exciting plans. In March, they will present an architectural installation of a Brooklyn-based sculptor, Ben Wolf.

Kesting/Ray represents several awesome artists, including street artist Swoon. They currently have two of Swoon’s pieces hanging inside, and there is another awesome Swoon pasted on the outside. Christina said that they didn’t know about that when they were buying the building. It’s just a lucky coincidence.

While Kesting/Ray is, with its love for street art and experimental installations, nothing like the art world giant Luhring Augustine who also bought a building in Bushwick, one cannot help but wonder what the move of the galleries from the city will create in the neighborhood. Christina said that she went to the Confronting Bushwick talk at The Bogart Salon held last month, and it was interesting. Both she and her husband David Kesting used to have galleries in Williamsburg, and so they can tell “how the history doesn’t repeat itself, but it rhymes“. Christina says that she does observe the change, however doesn’t like to get involved in the politics of it.

Christina Ray and David Kesting are both also artists and Bushwick residents. Christina said that they have so many friends in the neighborhood, it was only natural to open their second location here.