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After 11 years, David Lewis Gallery will cease operations, joining the slew of galleries across Manhattan to shutter its doors this year.

“I entered the gallery world as a wide-eyed academic, and, after over a decade of professional growth, it feels right to come full circle (Francis Picabia loved composing with circles!),” founder David Lewis wrote in an email blast, referencing the gallery’s current group exhibition “Everyone Loves Picabia” (on view through July 19).

He continued, “I’m bringing to a close this iteration of my gallery with a celebration of artists, creative communities, and innovative, even transgressive ideas. It has been the honor of a lifetime to work with such brilliant artists. It’s time now for a new chapter, which will further develop these collaborations and commitments.”

Lewis, an art historian and critic, opened his eponymous gallery in 2013 at 88 Eldridge Street, in Manhattan’s Lower East Side. Early programming centered around emerging talent, such as well-reviewed presentations of painter Lucy Dodd and performance artist Dawn Kasper. The gallery eventually expanded its roster with historical and under-studied artists, including Barbara Bloom, a photo-conceptualist from the Pictures Generation, and Mary Beth Edelson, an influential feminist activist and artist whose renown had waned.

In 2018, the gallery began working with the estate of Thornton Dial (1928–2016), a self-taught artist from rural Alabama whose intimate works on the legacy of slavery and sharecropping in America had begun to find success in mainstream art institutions. Speaking to Cultured in 2021, Lewis called Dial “a giant art-historical challenge.” 

There are no shortage of exhibitions dealing with KAWS and Andy Warhol individually, but there haven’t been many that contend with the two artists together. This unusual focus forms the subject of a new exhibition that recently opened at the Andy Warhol Museum in Pittsburgh, Pennsylvania, where 47 works by both artists are now on view.

Loosely, the pair has been brought together the shed light on the darkness of their oeuvres. But KAWS and Warhol share commonalities beyond that: works by both have infiltrated the public consciousness, and collaboration with big brands is also responsible for some of their art.

ARTnews recently spoke with KAWS about the exhibition at the Andy Warhol Museum, his thoughts on selling out, and his favorite pieces by Warhol. This interview has been edited and condensed.

ARTnews: The new show at the Warhol Museum features works from his “Death and Disaster” series, silkscreened paintings from the 1960s that feature appropriated pictures of car crashes and other violent imagery that Warhol repeated many times over. What relation does your work have to those paintings?

KAWS: The “darker themes” angle was something that [outgoing Warhol Museum director] Patrick Moore really wanted to explore. It’s funny how putting pieces in proximity to each other can really kind of shift the context. Companion (2020) was a sculpture I created thinking that it was just really representative of that year and exhaustion. But when placed under the Warhol’s Ambulance Disaster (1963–64), it suddenly feels much more tragic.