In Buffalo, there are hundreds of artists – visual and performing – trying to locate space to share their work and get feedback on what they hope to communicate. This might be true if it were not, at its core, trying to accomplish something different, something more democratic. For some, it’s been too easy to look only at the exhibition rental component and assert that 464 lacks a critical eye for selection. Over five years, the exhibitions have been a mix of curatorial selection, exhibition rental space and community gatherings. Because of this, there’s a balanced consideration about the development of the talent, skills and sales opportunities to sustain their micro-organism in a phenomenally rich cultural sea.Īccessing this pool is also based on a unique approach. Not to be confused with a greedy hand grabbing money from the notoriously tight market for artists in Buffalo, this is instead the consideration of viable careers, making money for galleries and artists alike. Without getting into aesthetic identity (leave that to the critics) or approaches (artist-run galleries – both for- and not-for profit – have been going on locally since the 1950s), the marriage of an artist-support group with a capitalist position embraces a new model. What the ‘record’ looks like for 464 Gallery (not to mention its affiliate organizations) is something different. Over the years, the Center’s been fortunate to be part of many important celebrations – among them, Hallwalls’ 20-year and 40-year anniversaries Squeaky Wheel’s 20-year celebration and many Buffalo Society of Artists’ milestones. The Center holds the archives of many of our region’s most influential arts organizations and artists, and reviewing their files – and understanding their impacts – is always a great pleasure.

My work at the Burchfield Penney Art Center has helped me better understand why 464 is important and how it has influenced the landscape of Buffalo’s cultural activity. Rather, it’s insight that comes from running a larger organization with an equally large appetite. More than 200 exhibitions, programs, parties and teach-ins is probably well beyond what anyone would have imagined would be the tally of 464 Gallery activities in its first five years: undertaking this much in such a short period would crush many organizations.

I’m always interested in considering the impact and position of arts organizations.

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