Marian Goodman Gallery Pauses Los Angeles Outpost After Tacita Dean Show Ends
Marian Goodman Gallery will pause operations at its Los Angeles outpost after its current solo exhibition for British artist Tacita Dean (b. 1965) closes on April 25, 2026. The decision marks the end of a two-and-a-half-year run for the space, which opened in September 2023 in a former Hollywood warehouse.
In a statement, the gallery’s four partners — Rose Lord, Junette Teng, Emily-Jane Kirwan, and Leslie Nolen — said the gallery is consolidating programming in New York and Paris, which they described as its historic homes. They added that the gallery’s work will continue to be anchored in those two cities, extending the transatlantic exchange between the United States and Europe that has shaped the business since 1977.
The gallery stopped short of saying the Los Angeles location is permanently finished. Instead, it said the partners will assess the next phase for the space and maintain a presence in Los Angeles, as well as internationally, through special projects, art fairs, and museum exhibitions in support of artists and clients.
The LA outpost was a polished, compact operation: 5,000 square feet that combined exhibition space, viewing rooms, office space, and a landscaped garden. Its program included exhibitions for American artist Steve McQueen (b. 1969), Trinidadian artist Tavares Strachan (b. 1979), Albanian artist Anri Sala (b. 1974), American artist Bruce Nauman (b. 1941), and Portuguese artist Leonor Antunes (b. 1972). It also presented “Casting a Glance: Dancing with Smithson,” a group exhibition curated by Lisa Le Feuvre.
The move places Marian Goodman among a growing number of galleries recalibrating their footprint amid market volatility. Timothy Taylor closed its New York outpost in March, Tanya Bonakdar closed its Los Angeles space last August, and Blum and L.A. Louver both announced complete closures last year. In that context, Marian Goodman’s decision reads less as an isolated retreat than as part of a broader reassessment of where galleries can sustain ambitious programming.
For Los Angeles, the pause leaves open a familiar question: how many blue-chip galleries can the city support, and in what form?
