After nearly 50 years nestled in Washington Square, New York University’s renowned Grey Art Gallery is preparing for a monumental transformation. On March 2, 2024, it will reopen in a revamped, purpose-built space at 18 Cooper Square, now christened the Grey Art Museum. This strategic move not only expands the gallery’s exhibition space by 40% but also situates it within the bustling intersection of the East Village and NoHo, enhancing its accessibility and prominence.

This relocation aims to bridge the gap between NYU’s academic community and the broader art landscape. “Our new address offers a prime platform to amplify our role both within the university and the downtown arts circle,” remarks Lynn Gumpert, the Director of the Grey Art Gallery.

Fueling this transformative shift is the generous patronage of Dr. James Cottrell and Joseph Lovett. Renowned art connoisseurs and social activists, they have pledged over 100 contemporary artworks from their private collection, with another 100 promised in the future. This magnanimous contribution will also be commemorated by naming one of the new galleries as the Cottrell-Lovett Gallery and the research facility as the Cottrell-Lovett Study Center.

The museum’s design, conceptualized by New York’s eminent Ennead Architects, preserves the heritage of its turn-of-the-20th-century building while infusing modern amenities. This blend of the past and present underscores the museum’s mission to juxtapose historical art narratives with contemporary dialogues.

Launching the Grey Art Museum’s new era is an exhibition titled “Americans in Paris: Artists Working in Postwar France, 1946–1962.” This curated collection offers a fresh perspective on the expatriate art community in post-war Paris, spotlighting the confluence of American and European artistic sensibilities.

The Grey Art Museum’s storied journey began in 1974 when Abby Weed Grey bequeathed her diverse art collection to NYU, envisioning a space where art transcended boundaries and fostered global dialogues. This ethos continues to guide the museum, with its collection now enriched by Dr. Cottrell and Mr. Lovett’s generous contribution.

NYU President Linda Mills encapsulates the sentiment, stating, “For almost 50 years, the Grey has been one of New York’s great treasures… In its fabulous new, more spacious, and more accessible quarters, the Grey will continue contributing to making lower Manhattan a world-class arts destination.”

As the Grey Art Museum ushers in this new chapter, it promises to remain a beacon for art enthusiasts, scholars, and students, championing the ever-evolving tapestry of art.

Hiroshi is our bridge to the art of the East. With his pen as his brush, he sketches the delicate intricacies of global art, painting the world in words.