2 NW Quadrant: The Approval Matrix
From New York Times by Jasper Rees
A vast new exhibition space opened in New York City this summer, with a show 18 months in the making. On view are works by 103 street artists from around the world, mostly big murals painted directly onto the gallery’s walls.
It is one of the largest shows of such pieces ever mounted in one place, and many of the contributors are significant figures in both the street-art world and the commercial trade that now revolves around it. Its debut might have been expected to draw critics, art dealers and auction-house representatives, not to mention hordes of young fans. But none of them were invited.
In the weeks since, almost no one has seen the show. The gallery, whose existence has been a closely guarded secret, closed on the same night it opened.
Known to its creators and participating artists as the Underbelly Project, the space, where all the show’s artworks remain, defies every norm of the gallery scene. Collectors can’t buy the art. The public can’t see it. And the only people with a chance of stumbling across it are the urban explorers who prowl the city’s hidden infrastructure or employees of the Metropolitan Transportation Authority.
That’s because the exhibition has been mounted, illegally, in a long-abandoned subway station. The dank, cavernous hall feels a lot farther than it actually is from the bright white rooms of Chelsea’s gallery district. Which is more or less the point: This is an art exhibition that goes to extremes to avoid being part of the art world, and even the world in general.