How do you hope to distinguish the Hole from the Deitch stamp?
The Hole will have more freedom to do stuff all over the place — more like a three-ring circus. We’re working on our second New York space now, plus projects for London, Miami, Russia and Greece. Suzanne [Geiss] is working on a parade. Meghan is working on a big show for a vacant lot downtown, there’s the shop and the blog and the community service. Plus, the three of us are really weird and just won’t be able to help ourselves. We couldn’t be normal if we tried. But the main way we will be different is that we will show the best artists around.

Any idea of what will become of the old Deitch space?
There’s nothing to reveal about that yet. 76 Grand is being rebuilt and we’re still working on setting up the Deitch archive at 18 Wooster.

What’s up for the Hole after this?
Our next show opens August 20 and will be Cody Critcheloe and his band SSION, plus two of his collaborators [designer] Peggy Noland, and Jaimie Warren in a kind of Kansas City Gone Wild exhibition with music, fashion, performance, video, and a beautiful installation.

Last question, do you mind talking a bit about the Deitch legacy? How do you think it became such an iconic institution in the art world?
Deitch created the project-based gallery. He would do ambitious, un-saleable shows and then sell other works from the showroom or art fairs or whatever else to pay for it. He essentially operated an awesome Kunsthalle more than a traditional gallery. Plus, he’s smarter than everybody and has more fun than everybody.