Berry Campbell, 524 W 26th Street, New York, NY (2026)

10/17/2026

PRESS
“At Frieze London and Frieze Masters, Rediscoveries Are Giving the Market New Momentum”

Established names still anchor the market, but this year’s fairs owe much of their energy to new and rediscovered practices.
By Elisa Carollo

A parallel reassessment of the canon is gaining momentum across the Atlantic, as Berry Campbell‘s presentation “Women of the 8th Street Club” shows, spotlighting women artists central to New York’s postwar Abstract Expressionist movement who were long excluded from its dominant narrative. The booth
brings together figures such as Mary Abbott, Elaine De Kooning, Perle Fine, Mercedes Matter and Edith Schloss, recalling an influential circle in which women played an essential role despite being largely denied formal membership and recognition. “We’re thrilled to return to Frieze Masters for our fourth year. Year after year, the fair has established itself as a pinnacle of the international art market and as a vital platform for critically reassessing 20th-century women artists,” Christine Berry told Observer, reporting a real sense of excitement on opening day. “It has also been fantastic to see such a strong presence of museum representation around the fair.”

🎥Michael Adair

10/15/2026

ART FAIR PRESS

FRIEZE MASTERS MAGAZINE
𝙎𝙞𝙩𝙚𝙨 𝙤𝙛 𝘿𝙞𝙨𝙘𝙤𝙫𝙚𝙧𝙮: 𝘽𝙚𝙧𝙧𝙮 𝘾𝙖𝙢𝙥𝙗𝙚𝙡𝙡 𝙤𝙣 𝘼𝙡𝙞𝙘𝙚 𝘽𝙖𝙗𝙚𝙧
“New York dealers Christine Berry and Martha Campbell recall the years of detective work that brought a forgotten abstract expressionist back into view”
Frieze Berry Campbell

Baber had an extraordinary career as an artist, activist and curator for more than 30 years. She lived in France in the late 1950s, where she was part of a circle that included artists such as Sam Francis, Shirley Jaffe and Paul Jenkins, whom she later married. Returning to New York in the early 1960s, she showed with A.M. Sachs Gallery, one of the most important contemporary galleries of the time. Many major museums acquired her paintings, including the Metropolitan Museum of Art in New York.

In 1982, at the age of 54, Baber died of cancer. It was at a moment when there was little interest in abstract expressionist or colour field paintings – and even less for those created by women artists. For years, nobody wanted her works and those that sold did so for low prices. While this was happening, we were quietly collecting them.

Alice Baber
𝙏𝙝𝙚 𝙁𝙡𝙖𝙜 𝙤𝙛 𝙩𝙝𝙚 𝙅𝙖𝙜𝙪𝙖𝙧 𝙏𝙪𝙧𝙣𝙨 𝙩𝙤 𝙩𝙝𝙚 𝙈𝙤𝙪𝙣𝙩𝙖𝙞𝙣, 1981
Oil on canvas
30 x 50 inches
©️Estate of Alice Baber

10/11/2026

SAVE THE DATE

𝗘𝗟𝗔𝗜𝗡𝗘 𝗗𝗘 𝗞𝗢𝗢𝗡𝗜𝗡𝗚 (1918-1989)
October 29 - December 19, 2026
Opening Reception: October 29, 2026, 6-8pm 🥂
Berry Campbell

Berry Campbell is honored to present an exhibition of paintings and works on paper by Abstract Expressionist and portraitist Elaine de Kooning (1918-1989), spanning four decades of her career from 1948 to 1988. The exhibition is the first major solo presentation of Elaine de Kooning’s work since the National Portrait Gallery’s 2015-2016 exhibition, 𝙀𝙡𝙖𝙞𝙣𝙚 𝙙𝙚 𝙆𝙤𝙤𝙣𝙞𝙣𝙜: 𝙋𝙤𝙧𝙩𝙧𝙖𝙞𝙩𝙨, continuing the critical reassessment of her work and her enduring contributions to art history. Many of these rarely seen works are on display for the first time since the artist’s death in 1989, highlighting the breadth of Elaine de Kooning’s practice across abstraction, representation, and portraiture.

In the 1940s and 1950s, Elaine de Kooning became a vital figure of the New York School and one of the most celebrated of the “Ninth Street Women,” developing a distinctive style characterized by energetic brushwork that bridged figuration and abstraction. A charter member of the 8th Street Club (The Club), Elaine de Kooning was among the eleven women who participated in the seminal 1951 Ninth Street Show. Alongside her work as an artist, she was an accomplished writer, serving as a celebrated art critic for ARTnews, where she helped introduce Abstract Expressionism to wider audiences while championing many of its leading artists.

Elaine de Kooning, c. 1950
Captured by Rudy Burckhardt
©️Estate of Rudy Burckhardt / Artists Rights Society (ARS)

10/08/2026

EXHIBITION

𝘿𝙀𝙑𝙊𝙏𝙀𝘿: 𝟮𝟬 𝙔𝙚𝙖𝙧𝙨 𝙤𝙛 𝙏𝙝𝙚 𝙈𝙘𝙈𝙞𝙡𝙡𝙖𝙣-𝙎𝙩𝙚𝙬𝙖𝙧𝙩 𝙀𝙣𝙙𝙤𝙬𝙚𝙙 𝘾𝙝𝙖𝙞𝙧 𝙞𝙣 𝙋𝙖𝙞𝙣𝙩𝙞𝙣𝙜
Through October 11, 2026
MICA
Featuring Nanette Carter Nanette Carolyn Carter

“By showcasing the creativity of women working at the forefront of art and culture, this exhibition underscores the values of our community at MICA,” explains MICA President Cecilia M. McCormick, JD. “I am grateful for the ongoing partnership with the McMillan-Stewart Foundation in bringing contemporary women artists skilled in traditional painting techniques to our classrooms. The artists spark timely conversations and push disciplinary boundaries—reflecting both MICA’s 200-year history and its bold vision for the future of arts education.”

Columbus, Ohio-born, New York-based artist Nanette Carter creates abstract collages using oil paint and biomorphic shapes cut from mylar. Through an art practice stretching back to the 1970s, Carter uses her art to intuitively process and respond to the weight of history, the churn of political upheavals, and the persistence of social injustices.

10/08/2026

INVENTORY HIGHLIGHT

Wifredo Lamb (1902-1982)
𝙋𝙚𝙧𝙨𝙤𝙣𝙣𝙖𝙜𝙚 3/24, 1970
Oil on canvas
19 7/8 x 17 3/4 inches
50.5 x 45.1 cm

“ With regards to life, modern painting is a revolutionary activity…We need it in order to transform the world into a more humane place where mankind can live in liberty…We must accept these things with passion. It means that we must live imaginatively.”
𝙇𝙤𝙬𝙚𝙧𝙮 𝙎𝙩𝙤𝙠𝙚𝙨 𝙎𝙞𝙢𝙨, 𝙒𝙞𝙛𝙧𝙚𝙙𝙤 𝙇𝙖𝙢 (2002). “𝙒𝙞𝙛𝙧𝙚𝙙𝙤 𝙇𝙖𝙢 𝙖𝙣𝙙 𝙩𝙝𝙚 𝙄𝙣𝙩𝙚𝙧𝙣𝙖𝙩𝙞𝙤𝙣𝙖𝙡 𝘼𝙫𝙖𝙣𝙩 𝙂𝙖𝙧𝙙𝙚, 1923-1982”

Wifredo Lam with La jungla (The Jungle, 1942-43), Le matin vert (The Green Morning,
1943), and, on the floor, La Silla (The Chair, 1943), in his Havana studio, 1943. Archives SDO Wifredo Lam, Paris

Berry Campbell Wifredo Lam

10/05/2026

UPCOMING FAIR

Frieze Masters London
October 14 — 18, 2026
Regents Park, London
Frieze Berry Campbell

Berry Campbell is pleased to present 𝙒𝙤𝙢𝙚𝙣 𝙤𝙛 𝙩𝙝𝙚 8𝙩𝙝 𝙎𝙩𝙧𝙚𝙚𝙩 𝘾𝙡𝙪𝙗 at Frieze Masters. This presentation focuses on women artists who were at the forefront of the 8th Street Club, known as “The Club,” an influential group of artists central to Abstract Expressionism in postwar New York. Meeting weekly for lectures, panel discussions, and social events, “The Club” created a vital forum where artists, critics, writers, composers, and intellectuals exchanged ideas.

“The Club” was exclusive, with members brought in by invitation only. Elaine de Kooning, Perle Fine, and Mercedes Matter were the only three women admitted as voting members.

Since its founding in 2013, Berry Campbell has been dedicated to restoring historically underrecognized artists to their rightful place within the canon, with a particular emphasis on the women of the New York School. Women of the 8th Street Club is an extension of the gallery’s program, bringing together artists whose pivotal contributions defined Abstract Expressionism in postwar New York.

Elaine de Kooning (1918-1989)
𝙍𝙤𝙗𝙚𝙧𝙩 𝙈𝙖𝙡𝙡𝙖𝙧𝙮 #3, 1964
Oil on canvas
63 1/8 x 40 3/8 inches
160.3 x 102.6 cm
(Fig 2.)
©️Elaine de Kooning Trust

Ethel Schwabacher (1903-1984)
𝙐𝙣𝙩𝙞𝙩𝙡𝙚𝙙, c. 1948
Oil on linen
24 x 20 inches
61 x 50.8 cm
(Fig 2.)
©️Estate of Ethel Schwabacher

Mercedes Matter (1913-2001)
𝙐𝙣𝙩𝙞𝙩𝙡𝙚𝙙 (𝙎𝙩𝙞𝙡𝙡 𝙇𝙞𝙛𝙚), c. 1978
Oil on canvas
38 x 40 inches
96.5 x 101.6 cm
(Fig 4.)
©️ Estate of Mercedes Matter

10/02/2026

ELAINE DE KOONING
PRESS MENTION

The Lee Krasner-Jackson Po***ck Saga
Lee Krasner lived and labored in the shadow of her difficult husband, Jackson Po***ck—her paintings underappreciated, her pivotal contributions to his fame unrecognized. A new joint exhibit reframes the legend of one of
American art’s great power couples.

BY ANNE HIGONNET TOWN&COUNTRY

Slowly, all the women among the great Abstract Expressionist painters got single artist shows. As the critical apparatus that hoisted their male colleagues to dominance has become creaky, new opinions have emerged. Krasner was celebrated at the Barbican in London in 2019. There was a strong Helen Frankenthaler
exhibition at MoMA in 2025. Elaine de Kooning will have a show at the Berry Campbell Gallery in Manhattan in October. Women artists in other movements and media whose husbands painted while their own expressions of creativity were
considered minor, like Anni Albers, who wove, or Sonia Delaunay, who was a fashion designer as well as a painter, have starred in shows in their own media. Yet the artworld has long resisted the challenge of the tandem exhibition. To show the work of a man reckoned a star in his own time risked, curators reasoned, assigning the woman to second place.

Until now. It would be hard to name three male painters more formidable to be compared with than Edouard Manet, Diego Rivera, and Jackson Po***ck. Yet curators are now making comparisons with confidence. “Frankly, it was astounding to me that no one had done this before,” says Emily Beeny, curator of the “Manet & Morisot” show. It is now clear that the women in these couples used every advantage they were allowed. The best also had a tactical kind of genius.

10/01/2026

PRESS

APOLLO MAGAZINE
Interview with Christine Berry and Martha Campbell, Co-founders of Berry Campbell
By Ed Behrens Apollo Magazine

‘Our goal is to promote these artists, not ourselves’

“The founders of the New York gallery talk to Edward Behrens about shaping the market for work by modern and contemporary women artists.

Berry Campbell was founded in 2013 by Christine Berry and Martha Campbell in New York City. Located in the heart of Chelsea, the gallery plays a major role in bringing to the market overlooked artists – most often women – from the mid to late 20th century. It sells to museums and private collectors around the world, including in Europe, China and Hong Kong.”

Read full interview Apollo Magazine

Christine Berry and Martha Campbell Berry Campbell, c. 2026
Photo by Blaine Davis Blaine Davis

09/30/2026

MUSEUM EXHIBITION

𝙑𝙤𝙞𝙘𝙚𝙨 𝙞𝙣 𝙋𝙧𝙞𝙣𝙩: 𝙉𝙚𝙬 𝙅𝙚𝙧𝙨𝙚𝙮 𝘽𝙡𝙖𝙘𝙠 𝙒𝙤𝙢𝙚𝙣 𝙋𝙧𝙞𝙣𝙩𝙢𝙖𝙠𝙚𝙧𝙨 𝙎𝙝𝙖𝙥𝙞𝙣𝙜 𝙩𝙝𝙚 𝘼𝙢𝙚𝙧𝙞𝙘𝙖𝙣 𝙉𝙖𝙧𝙧𝙖𝙩𝙞𝙫𝙚
Featuring Nanette Carter (b. 1954)
Nanette Carolyn Carter
Through February 28, 2027
Morven Museum & Garden

“Curated by Judith K. Brodsky and Rhinold L. Ponder, “Voices in Print” is the inaugural exhibition to open in Morven’s Stockton Education Center. It’s part of Re-Visioning America: 1776–2026, commemorating the United States’s 250th with exhibitions highlighting the nation’s diversity and showcasing the work of female artists of color.

“Voices in Print” showcases generations of Black women artist activists whose art is transgressive in advocating for visibility and social change. Many worked collaboratively to pioneer new printmaking techniques and create opportunities for themselves in the art world; they serve as mentors and influences. As Black women, they have placed authentic representations of the Black female body at the center of their work — representations that reflect their experiences, identities, confidence, strength, beauty, and ideas — creating powerful works that others can find themselves mirrored in.”
- Morven Museum & Garden

Nanette Carter
𝙎𝙪𝙢𝙢𝙚𝙧’𝙨 𝙂𝙧𝙚𝙚𝙣𝙨, 1991
Woodcut and lithograph
41 x 22 inches

09/30/2026

PRESS

Independent 20th Century
September 24 — 27, 2026
The Breuer, New York City
Independent Berry Campbell

The Best Booths at Independent 20th Century
BY ANNE DORAN ARTnews
September 25, 2026

It’s a big year for Independent, the art world’s favorite contemporary art fair, and its more art-historically minded sister, Independent 20th Century. On the heels of Independent’s move earlier this year from Spring Studios in New York’s Tribeca to the much larger Pier 36 on the Lower East Side, its 20th Century edition, which opens to the public today, has also relocated, shifting from its Lower Manhattan location to Marcel Breuer’s 1960s brutalist building on Madison Avenue and East 75th Street, formerly home to the Whitney Museum and now headquarters for Sotheby’s auction house.

While other New York art fairs like TEFAF and ADAA also deal in historical work, Independent 20th Century has a specific focus: art made in the 100 years between 1900 and 2000, with particular attention paid to expanding the art-historical canon. In this it reflects a growing art world impulse toward inclusivity, as witnessed by the increased presence of female artists, outsider artists, q***r artists, and artists of the Global South at auctions, biennials, and museum exhibitions.

Standout presentations this year include “Black Soho,” curated by galleries Ryan Lee and Salon 94 and featuring works made in NYC between 1961 and 1984 by African-American artists such as Emma Amos, Jean-Michel Basquiat, Camille Billops, Frederick J. Brown, Vivian Browne, Ed Clark, David Hammons, and Norman Lewis. Elsewhere, Berry Campbell is showing a selection of pieces by the women artists of the famed Stable Gallery (1953–1970), including Elaine de Kooning, Joan Mitchell, Charlotte Park, and Janice Biala.

Dorothy Dehner
Untitled, 1951
Ink and watercolor on paper
18 x 22 3/4 inches

Edith Schloss
Untitled, 1966
Oil on canvas
19 5/8 x 23 5/8 inches

Ethel Schwabacher
Et in Arcadia Ego #1, 1954
Oil on linen
30 x 36 inches

Berry Campbell

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