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THE 1980s

  • Lona Foote
  • Jan Moss
  • Leslie Lund
  • Virginia Maksymowicz
  • Kevin Cooper



  • Miriam Brofsky
  • R. Winslow Bronson
  • Jim Clausnitzer
  • Anthony Cueno
  • Constance Dodge
  • Joseph M. Dunn
  • Michael Eastman
  • Suellen Glashausser
  • Gena Hegelman
  • Lou Hicks
  • Emily Hixon
  • H. James Hoff
  • Deeje Mitchell Justice
  • Joseph A. Kaminski
  • Madeleine Kaufman
  • ​​Charleen Kavleski
  • Knut Loewe
  • Jane McClintock
  • Molly
  • Mimi Oritsky
  • Margaret Plaganis
  • José Presman
  • Gary Rauchbach
  • Wayne Reida
  • Eva Sayles
  • Ann Schaumburger
  • Sally Shearer Swenson
  • Joyce Sills
  • Mary Spencer
  • Walter Swales
  • Soile Yli-Mäyry
  • and many more
  • Moved and stayed at 164 Mercer St, 2nd floor from 1980-1990.
  • Introduction of other forms of exhibitions (exchange and juried shows.)
  • Is granted Non Profit Status in 1987.

In the 1980s, Amos Eno Gallery decided to move from its 2nd location to 164 Mercer St, 2nd floor. During this period, the gallery had numerous directors: starting with Lona Foote, Jan Moss, Leslie Lund, Virginia Maksymowicz, and Kevin Cooper. After the foundation was laid and the gallery felt comfortable in the space they have garnered, they started to collaborate with artists from other locations like Philadelphia, Upstate New York, California, etc in exchange shows. Alongside these exchange shows, there were numerous amount of solo shows of artists that were with the gallery from the founding of the gallery (José Presman, Lou Hicks, and Deeje Mitchell) to newer artists of the time (Sally Shearer Swenson, Nicholas Nociforo, R. Winslow Bronson, and H.James Hoff.) 

Unless otherwise noted, all materials belong to the collection of Amos Eno Gallery.

During this decade, Amos Eno Gallery adopted the practice of writing down meeting minutes that summarize the topics discussed during general or board member meetings. Topics that were frequently brought up during these meetings were finances, location, show schedule, advertising, general and board membership, etc. These meetings were held frequently and lasted a couple hours to give members the time and space to present their thoughts and vote on decisions. Attached to these meeting minutes would sometimes come with the newsletter for the accompanying season. These newsletters also discuss broader topics that impact artists collectives that are in the alternative scene of gallery spaces; displaying specifically the lack of exposure given to these spaces.

Unless otherwise noted, all materials belong to the collection of Amos Eno Gallery.

If you would like to view more documents from the Amos Eno Gallery please contact us at our email:

Researched and organized by CCNY fellow Yamile Baez.

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