In the mid 1990s, a couple years before starting her own gallery, Marianne Boesky partnered with Patrick Callery to open a gallery specializing in emerging artists. At that time, the artworld was in transition after the overly-exuberant 1980s. The general pace was slowing down; market values were shifting away from excess; and issues of race, sexuality and gender were surfacing.
To reflect that amorphous time, as well as the gallery’s diverse stable of artists, our visual identity system was built on the blur. There would be as few hard edges as possible, magazine advertisements would emerge from the page, and images, if any, would be whispered rather than declared.