In the heart of lower Manhattan, where the relentless pace of urban life meets the precarious world of contemporary art, a unique experiment unfolded last year at 131 Chrystie Street. Spielzeug Gallery, a nomadic curatorial project founded by the visionary Evan Karas, transformed a modest space into a vibrant hub of creativity through its inaugural brick-and-mortar exhibition titled "TOYS! TOYS! TOYS!" This show, which embodied the gallery's ethos of playful chaos and psychosexual exploration, was made possible through a strategic collaboration with 1 Day at a Time, an innovative organization dedicated to supporting emerging artists and curators in New York's challenging rental landscape. As the art scene grapples with closures and economic pressures, Spielzeug's temporary foothold represents a beacon of resilience and imagination, drawing on historical precedents while pushing boundaries in the present day.
Evan Karas, the 25-year-old director and founder of Spielzeug Gallery, hails from Chicago and arrived in New York in the summer of 2021. His journey into the art world began somewhat serendipitously with a brief internship at the Marc Straus Gallery, where an encounter with Hungarian painter Diki Luckerson ignited the spark for Spielzeug. Prior experiences in hospitality and interior design honed Karas's sensitivity to the interplay between objects, spaces, and atmospheres. He describes the gallery's name—German for "toy"—as a nod to the inherent control and intensity toys evoke, from childhood disassembly of dolls to adult psychosexual undertones. "Toys always come with an idea of control," Karas explains. "As children, we rely on objects to make sense of reality. That intensity never really goes away in adulthood; it just shifts into something psychosexual."
The "TOYS! TOYS! TOYS!" exhibition served as a bold manifesto for this philosophy, transforming the Chrystie Street space into what felt like a dimensional rift rather than a conventional showroom. Crimson walls hosted chimeric objects and kinetic installations that slumped, sprouted, or sprawled across the floor, inviting visitors to engage in a dance of avoidance and interaction. A standout piece was Thomas Liu Le Lann's massive, mutated jester, which lay provocatively on the ground, challenging the dense crowd of friends, family, and art enthusiasts at the opening. For visual insight into this immersive setup, images of similar installations can be sourced from contemporary art archives, evoking the chaotic energy of the show.
Other notable works included Josh Rabineau's Nipples Are the Windows to the Soul (2025), a silicon figure emerging from the wall—part human, part creature—with long blonde hair and a chrome deer head. Visitors were encouraged to peer through peepholes on its chest, adding an interactive, voyeuristic layer. Facing this was Michelle Im's small ceramic traffic cop, which Karas described as "a simulated soul trapped inside a hallmark of authoritarian subservience," evoking a sense of terror amid the playfulness. These pieces underscored Spielzeug's commitment to objects that foster escapism and re-embodiment, as Karas notes: "It’s objects that make me feel less alone in my body... there’s a sense of cleaving open a complete imaginative realm—a beautiful escapism in which people feel re-embodied in the hyper-physicality of everything." Representations of such artworks highlight the gallery's blend of whimsy and depth.
Spielzeug's nomadic roots further enrich its narrative. Described as an "itinerant fantasy," the project has manifested in unconventional venues, including a remote Czech bunker, a party bus, and a Bushwick apartment that hosted Diki Luckerson's "Lychee from a Poisonous Tree." This exhibition featured smeary, semi-abstract paintings where bodies bubbled and bled in prisms of color and desire, emphasizing themes of surrender over mere letting loose. Another highlight was Sophie Jung's Wahrzeichen (2023), showcased at Basel Social Club and later acquired by the Kunstmuseum Basel, demonstrating the gallery's eye for emerging talent.
The collaboration with 1 Day at a Time was pivotal in bringing this vision to a physical space amid New York's rent crisis. Founded by Jordan Harper White, a graphic designer, and Isabelle Rose Basha, a performance artist, the organization evolved from a Covid-era digital art advisory that pioneered 3D virtual walkthroughs for exhibitions. Clients included the Brant Foundation, the Shed, and Art Basel Miami Beach. Through participation in New Inc, the New Museum's mentorship program, they shifted to artist management, advising up to 40 artists at once and now running residency and exhibition programs focused on professionalization. Harper White describes their role as "manufacturing legitimacy," addressing the critical question: "Is this gallery going to be here tomorrow?" Basha emphasizes resource-sharing without gatekeeping: "The more we can break down those walls, the more everyone in the art world is empowered."
This partnership allowed Spielzeug to navigate the paradox of out-of-the-box projects within market frameworks, enhancing access through tools like virtual walkthroughs. For instance, the "TOYS! TOYS! TOYS!" show can be explored digitally via an online viewing room, opening it to global audiences and serving as a reflective tool for curators. Visual depictions of these virtual experiences capture the innovative spirit.
Spielzeug's approach resonates with a rich lineage of New York alternative spaces, from the 1970s ad hoc venues at 112 Greene Street in Soho to Colin de Land's American Fine Arts, Co., which blended salon, gallery, and intellectual provocation in marginal settings to resist commercialization. Today, amid a reported loss of roughly 60 small venues over the last three years—including Clearing, JTT, Queer Thoughts, and Canal Projects, as noted by Hyperallergic—spaces like Alyssa Davis Gallery share Spielzeug's personality-driven, conceptually nimble ethos. Yet, the terrain is tougher, with narrowing opportunities for improvisation.
In 2026, Spielzeug's fragile yet potent model questions whether provisional practices can endure without losing their spontaneity. As Harper White puts it, it's about "teaching the frameworks of the business to out-of-the-box projects, so they can reach a certain level of market appreciation." For Spielzeug, the game continues, blending pleasure, survival, and unyielding creativity in New York's ever-evolving art ecosystem.
FAQ
What is Spielzeug Gallery? Spielzeug Gallery is a nomadic curatorial project founded by Evan Karas in 2021, focusing on playful, chaotic exhibitions that explore psychosexual themes through objects and installations. Its name means "toy" in German, symbolizing control and reality-making.
What was the 'TOYS! TOYS! TOYS!' exhibition about? The exhibition, held at 131 Chrystie Street, featured chimeric objects and kinetic installations like Thomas Liu Le Lann's mutated jester, Josh Rabineau's Nipples Are the Windows to the Soul, and Michelle Im's ceramic traffic cop, creating an immersive, interactive space that blurred showroom and dimensional rift.
Who founded 1 Day at a Time and what do they do? Founded by Jordan Harper White and Isabelle Rose Basha, 1 Day at a Time supports nomadic creatives with resources for New York footholds, including virtual walkthroughs, residencies, and professionalization programs, evolving from Covid-era digital advisories.
How does Spielzeug fit into New York's art history? It aligns with alternative spaces like 1970s Soho venues and Colin de Land's American Fine Arts, Co., thriving in unstable conditions to resist commercialization, amid recent closures of over 60 small galleries.
Where can I view the exhibition virtually? Explore the "TOYS! TOYS! TOYS!" show through its online viewing room, which provides 3D walkthroughs for global access and curatorial reflection.
What challenges does the New York art scene face according to the article? The rent crisis has led to the loss of small venues, narrowing space for experimentation. Organizations like 1 Day at a Time help by "manufacturing legitimacy" and sharing resources to empower artists and curators.
Who are some artists featured in Spielzeug's projects? Artists include Diki Luckerson (semi-abstract paintings), Sophie Jung (Wahrzeichen, acquired by Kunstmuseum Basel), Thomas Liu Le Lann, Josh Rabineau, and Michelle Im, showcasing emerging talent in unconventional settings.
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