Greenwich Village’s Oldest Alternative Art Space Presents Diverse Contemporary Works Through December 2025
Historic Alternative Space Continues Programming
White Columns, New York City’s oldest alternative art space, opened three concurrent exhibitions in November 2025 featuring solo presentations by Eli Ruhala and Ama Birch alongside an installation by Ceramics Club. The exhibitions, which opened November 8 with a reception attended by artists and collectors, run through December 20, 2025, at the gallery’s location at 91 Horatio Street in the West Village. White Columns, founded in 1970 by Jeffrey Lew and Gordon Matta-Clark as an experimental platform for artists, maintains its commitment to showcasing emerging and mid-career artists not typically affiliated with commercial galleries. The nonprofit organization presents an ongoing program of exhibitions, projects, talks, screenings, and events, operating eleven months per year with free admission to the public. Current director Matthew Higgs has led the organization since 2004, continuing its tradition of providing crucial early exposure to artists who often achieve significant recognition later in their careers. The gallery’s history includes early exhibitions by now-renowned artists including Kiki Smith, William Wegman, Felix Gonzalez-Torres, Cady Noland, and Glenn Ligon.
Eli Ruhala Exhibition
The exhibition featuring work by Eli Ruhala represents another chapter in White Columns’ ongoing commitment to presenting emerging artistic voices. While specific details about the artwork displayed were not extensively documented in available materials, the inclusion of Ruhala’s work in this prominent alternative space indicates recognition of their artistic practice. White Columns’ curatorial approach emphasizes artists whose work demonstrates originality and engagement with contemporary artistic discourse. The gallery’s willingness to present relatively unknown artists before they achieve commercial gallery representation has historically provided crucial support during formative career stages. The exhibition provides Ruhala with significant exposure within New York’s art community, potentially leading to additional opportunities including gallery representation, museum exhibitions, or inclusion in important collections. White Columns’ exhibitions often attract attention from curators, critics, and collectors seeking to discover new talent.
Context of Alternative Spaces
White Columns exemplifies the alternative art space model that emerged in New York during the 1970s as artists sought venues outside traditional commercial and institutional frameworks. These spaces, often artist-run and nonprofit, provided experimental platforms less constrained by market pressures or institutional conservatism. The alternative space movement addressed practical needsexhibition opportunities for artists outside commercial gallery systemswhile fostering artistic innovation and community building. Spaces like White Columns, Artist’s Space, The Kitchen, and others created infrastructure supporting artistic experimentation that might not find support in commercial contexts. Despite gentrification pressures and rising operational costs that have forced many alternative spaces to close or relocate, White Columns has persisted for more than five decades. The organization’s longevity reflects both its importance to the artistic community and its ability to adapt to changing circumstances while maintaining core mission commitments.
Ama Birch Exhibition
The concurrent exhibition by Ama Birch presents work by an artist whose multidisciplinary practice spans writing, drawing, painting, and digital media. Born in 1977 in New York, Birch has developed what White Columns describes as a labyrinthine body of work exploring complex themes through diverse media. A special reading event featuring Ama Birch and poet Charles Bernstein was scheduled for Saturday, December 13, highlighting the interdisciplinary nature of Birch’s practice and White Columns’ commitment to programming beyond visual art exhibitions. The event reflects the organization’s understanding that contemporary artistic practice often transcends medium-specific boundaries. Birch’s inclusion in White Columns’ programming demonstrates the gallery’s continued relevance in identifying and supporting significant artistic voices. The organization’s curator-led artist registry system enables director Matthew Higgs and his team to maintain awareness of emerging artistic activity throughout New York and beyond.
Ceramics Club Installation
The third concurrent exhibition features an installation by Ceramics Club, an artist collective whose work engages with ceramics as both material and conceptual framework. The group’s inclusion demonstrates White Columns’ openness to collaborative artistic practices and its willingness to present work that challenges conventional exhibition formats. Ceramics Club organized multiple special events during the exhibition period including readings, performances, and other programming. These events transformed the gallery into an active space for community gathering and artistic exchange rather than simply a venue for viewing static displays. A reading organized by Samuel Lang Budin featuring Catherine Fatima, Malvika Jolly, Clara Joy, and Casper Lee took place Saturday, November 22. A unique event titled “Are you ready for love? Queer Speed Cruising” occurred Saturday, December 6, presented by legal husband Lily Marotta and licensed domestic partner Alex Schmidt. The exhibition’s final day, Saturday, December 20, featured an extravaganza including video screenings with work by Trisha Baga and a book launch by Halsey Rodman.
Programming Philosophy
These varied events exemplify White Columns’ approach to exhibitions as opportunities for community engagement and artistic dialogue rather than simply displaying objects. The programming activates the gallery space, creating reasons for repeated visits and fostering connections among artists, writers, performers, and audiences. This approach reflects broader trends in contemporary art toward social practice, participatory experiences, and interdisciplinary exchange. While traditional exhibition models emphasize viewing static artworks, many contemporary artists and institutions seek more dynamic engagement with audiences. White Columns’ history of experimental programming positions it well to support these evolving artistic practices.
Location and Facilities
White Columns’ current location at 91 Horatio Street, where it relocated in 2018, places the organization near the Whitney Museum of American Art and the High Line. This proximity to major cultural institutions and the heavily trafficked High Line park provides visibility and foot traffic while maintaining connection to the West Village’s artistic heritage. The gallery’s previous locations included sites in SoHo, Spring Street, and Christopher Street, reflecting New York’s shifting artistic geography as neighborhoods gentrified and cultural activity relocated. Each move required adaptation while maintaining organizational identity and mission. The Horatio Street space provides adequate exhibition area for White Columns’ programming while fitting within the organization’s nonprofit budget. Maintaining a physical gallery presence in Manhattan has become increasingly challenging for nonprofit arts organizations facing rising real estate costs, making White Columns’ continued operation particularly significant.
Artist Registry and Support Mechanisms
Beyond exhibitions, White Columns operates an online curated Artist Registry providing visibility for artists not currently affiliated with galleries. Director Matthew Higgs and his team review submissions and conduct studio visits, with selected artists receiving inclusion in the registry. This system enables White Columns to maintain awareness of artistic activity while providing career support to artists beyond those receiving exhibitions. The registry has become a valuable resource for curators, critics, and collectors seeking to discover new work, amplifying White Columns’ impact beyond its physical space. Many artists benefit from registry inclusion even without receiving exhibitions, as the visibility can lead to other opportunities. The organization also publishes editions and publications documenting exhibitions and artistic activity. These materials extend exhibitions’ impacts beyond their limited run while generating revenue supporting operations.
Looking Ahead
White Columns’ continued operation and robust programming demonstrate the ongoing vitality of the alternative art space model despite significant challenges. As New York’s commercial gallery sector increasingly concentrates around a small number of mega-galleries representing established artists, spaces like White Columns become even more crucial for emerging artists seeking exhibition opportunities and professional development. The organization’s ability to present multiple concurrent exhibitions while maintaining diverse programming suggests financial and operational stability. Continued donor support, foundation grants, and earned revenue from publications and special events enable White Columns to sustain its mission. For more information about New York’s art scene, the ARTnews provides comprehensive coverage. The current exhibitions featuring Eli Ruhala, Ama Birch, and Ceramics Club exemplify White Columns’ commitment to presenting diverse artistic practices while fostering community engagement through varied programming. This approach ensures the organization remains relevant and vital as the art world continues evolving.
