Go Time! Gagosian Christens New Madison Avenue Space With Duchamp Readymades

Gagosian will unveil a newly renovated ground-floor gallery at 980 Madison Avenue on April 25 with an exhibition of Marcel Duchamp readymades, aligning the opening with the Museum of Modern Art's much-discussed Duchamp retrospective. The timing is deliberate: the show arrives just one day after the close of Gagosian's Jasper Johns exhibition in the building's upper galleries, which the dealer has long leased.

The new space expands on a smaller bookstore and exhibition area Gagosian opened on the ground floor in 2013. The building itself changed hands roughly two years ago, when Bloomberg Philanthropies acquired it, adding another layer of significance to a location that has long been central to the gallery's New York presence.

In a statement, Gagosian said he could not imagine a more fitting artist or body of work to inaugurate the space than Duchamp, noting that the artist showed at 980 Madison more than 60 years ago, in a 1965 exhibition at Cordier and Ekstrom Gallery. The gallery also pointed to the historical resonance of returning Duchamp to the address where he once appeared in a very different art world.

The exhibition will focus on readymades Duchamp produced in 1964 with the assistance of Italian art dealer Arturo Schwarz, a period when many of the original works from the 1910s had already been lost or damaged. Among the works on view will be“Bicycle Wheel” (1964, after the lost 1913 original),“Fountain” (1964, after the lost 1917 original),“Boîte-en-valise” (1935–49; contents 1935–41), and“Porte-chapeau” (1964, after the lost 1917 original). Most of the works come from editions of eight, though the gallery notes that the number of surviving examples varies.

The show also underscores Duchamp's continuing market force. According to the Artnet Price Database, the auction record for a work by Duchamp is $11.4 million, set in 2009 for“Belle haleine–eau de voilette” (1921), sold at Christie's Paris from the collection of Yves Saint Laurent and Pierre Bergé.

For Gagosian, the opening marks both a physical expansion and a pointed curatorial statement: a renovated space, a canonical artist, and a location whose history is inseparable from the gallery's own.

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