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In a sprawling trend-piece, Smith notes that some new exhibition spaces operate in the gap between traditional galleries and alternative spaces, thus breaking the long-accepted model of what a gallery looks like and even how it operates, as some are reconsidering the flow of monthly shows and finished objects. Smith sees the Wrong Gallery, created by the artist Maurizio Cattelan and independent curators Ali Subotnick and Massimiliano Gioni, as one of the precedents.

It opened on West 20th Street in 2002 [in New Yorks Chelsea district], in a one-foot-deep doorway behind a glass door identical to the one leading into the adjacent Andrew Kreps Gallery. Modestly but memorably, Wrong demonstrated that it was possible both to parody a gallery and function as one, giving numerous artists mini-debuts, she writes.

Smith cites Michele Maccarone, a dealer who runs a three-story space on Canal Street in Manhattan, and Reena Spaulings, a two-year-old NYC galleryheaded by a nonexistent personas leading the trend, which also includes an artist-run collective and the new Martha Rosler Library.

The library, on the Lower East Side of Manhattan, has shelves crammed with about 6,000 books owned by the artist eminence Martha Rosleron art, architecture, science fiction, poetry, history and beyondthat form a kind of portrait of the artist's mind. Anyone can come in, browse, read and even photocopy a few pagesfree.

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