How did Allison Schulnik first catch your eye?
We saw her paintings in Chelsea a few years ago. A friend reintroduced us to the work more recently, and when we were in LA last spring we visited her studio. We were struck by what a unique and driven artist she was. Her studio was so rich. There were paintings and clay sculpture and stuffed animals and drawings everywhere. It was undeniable. She is also a delightful person, a good heart and a bit mischievous.

Everyone is tired of labels, but how do you describe what the gallery is all about to someone who isn’t familiar with contemporary art?
People who aren’t familiar with contemporary art are lucky and I try not to infect them. Mainly we try to help those who are suffering. We’re like a clinic for sick fuckers that need a good quarantining. Our openings remind me of zombie movies.

Speaking of openings, are there any particular shows that stick out in your mind as being especially successful or personal?
In 2003 we mounted a performance and video work by David Askevold titled Two Hanks. David was in his mid-sixties then and hadn’t had a solo show in New York since the late 1970s. David was a first-generation conceptualist and teacher, his influence on the gallery was significant, he understood who we were and what it was we were doing.
I also liked a group show from a couple of summers ago, Journey to the Center of Uranus. Good sculpture from Jessica Jackson Hutchens, Ida Eckblad, and Eunice Kim.