In a cramped 9-by-15-foot former storage shed perched on a Chinatown rooftop, hundreds of art enthusiasts recently gathered for the opening of Alix Vernet's "EDEN" at Market Gallery. The unconventional venue, accessible only by walking through owner Adam Zhu's one-bedroom apartment, has quickly established itself as Manhattan's most intimate and authentic gallery experience.
The gallery space, which can accommodate only a handful of visitors at a time, creates what Zhu calls "a more visceral intentionality" in each encounter with the artwork. During summer openings, the rooftop transforms into a barbecue venue, while winter events feature homemade soups simmering over a fire pit. "Generally people are confused at first, and then when they go into the back area, it's quite a scene," Zhu tells visitors. "The whole thing is part of the experience, right? I'm inviting you into my personal space."
At 29, Zhu embodies the multihyphenate spirit of downtown Manhattan's art scene. His diverse roles include artist, skater, curator, organizer, cultural consultant, chef, and now gallerist. This versatility stems from his East Village upbringing, which he describes as "catching the tail end of a really great time" during the final years of a subcultural heyday.
Zhu's connection to skateboarding culture has profoundly shaped his artistic vision and community-focused approach. As a former regular and employee at Supreme, now serving as a brand consultant, he credits skating with expanding his perspective. "For me, skating is so integral to the way that I view things," he explains. "I don't think many people cover as much ground as skateboarders do." His community activism became evident in 2019 when he rallied skaters and neighbors to defend Tompkins Square Park's beloved asphalt from development threats.
The philosophy driving Market Gallery reflects Zhu's resistance to urban displacement. "Rather than feeling displaced in your own city, do your part to create a space that feels true to yourself and your community," he states. "I try not to be too pessimistic, although it's hard at times. It's a big reason why I started the gallery."
Zhu has called his Chinatown one-bedroom apartment home for the past decade. The rooftop space served various purposes over the years, functioning as an art studio, makeshift outdoor cinema, jazz practice room, Boiler Room venue, and crash pad for friends like Shawn Powers. "Something about using it entirely for myself didn't sit right with me," Zhu explains. In September 2023, he decided to transform the space into a permanent gallery, and by the following summer, contractor and inaugural featured artist Andrew Kass had converted the humble plywood cube into an exhibition-ready platform.
Despite being less than a year old, Market Gallery has already gained recognition for showcasing New York's most exciting emerging artists. The gallery's tight quarters initially limited exhibitions to solo shows, but a collaboration with artist Jack Irv led to their first major group exhibition at 51 Mercer, the former home of Virgil Abloh's Em Pty Gallery.
In July, Market Gallery opened "REVOLVE," an ambitious intergenerational celebration of New York artists past, present, and future. What began as a way to showcase a single Rene Ricard piece evolved into a comprehensive exhibition bridging living and deceased artists, emerging and underground talents. With Supreme's support, the show featured contemporary artists like Lorenzo Amos, Amanda Ba, Marcus Jahmal, and Rachel Simon alongside legendary names including Dash Snow, Rammellzee, Mike Kelley, Josh Smith, Maggie Lee, and Aurel Schmidt.
The success of "REVOLVE" exceeded all expectations, drawing over 1,000 attendees who spilled onto SoHo's cobblestone streets. For Zhu, Kass, and Irv, who had organized DIY parties and pop-ups as teenagers, the event represented a full-circle moment. "Being a part of that felt in the same spirit as what we'd done over the years, but just incredibly elevated," Zhu describes. "It was definitely a perfect storm."
Despite Market Gallery's growing reputation, Zhu resists traditional gallery labels and dealer expectations. He views his various activities—curating, making art, skating, hosting, cooking, and supporting friends—as different facets of the same practice rather than separate roles. The gallery's logo, a subtle nod to the hardcore band Minor Threat emblazoned on both his apartment and shed doors, reflects this unconventional approach.
"Just being the black sheep—or in my case, the yin-yang sheep—I view the gallery as a DIY project, something outside the establishment," Zhu explains. Rather than pursuing a traditional white-cube storefront, he's leveraging the gallery's strength as the communal creative space it has always been while flexing his curatorial muscles.
In a city where relentless development and commercial pressures threaten independent art spaces, Zhu represents a new model of creative entrepreneurship. He keeps his community close to heart, with friends, peers, and contemporaries placing their creative faith in his vision. His hope is that Market Gallery will inspire others to build their own scenes, celebrate art on their terms, and forge paths outside traditional gallery representation.
Zhu suspects he'll eventually stage a solo show in his own space, but for now, he's focused on building momentum and maintaining the authentic community spirit that defines Market Gallery. As he carves out his own corner of the art world, he's doing it entirely on his own terms, proving that sometimes the most powerful artistic statements come from the most unexpected places.
