Representing the same 20 artists as he did before he closed, for the past two years Reynolds has been staging exhibitions in other commercial galleries, including London’s Annely Juda Fine Art, Independent Régence in Brussels, and Àngels in Barcelona. There are further plans to show in Tehran and Tokyo. The aim is to develop “collaboration between galleries rather than an alternative to galleries”, Reynolds says, noting that costs and proceeds are usually split down the middle with the hosting gallery.
Reynolds’s story is an increasingly familiar one. Spiralling rents, buyers’ desire for investment-grade trophy works, an exhausting cycle of art fairs and a growth in online platforms mean that more and more dealers in the lower and middle echelons of the art market are eschewing bricks and mortar in favour of leaner, less permanent models.