RBG is Reimagining A New Remote Model

Our 1275 Minnesota Street location is now closed to the public

For fifty years, Rena Bransten Gallery has believed deeply that artists, and the art they make, represent one of humankind’s greatest contributions to our lives. There will always be the creative gesture. While closing our physical space is a loss to the City, we remain profoundly committed to San Francisco and to the culture we continue to build and share.

This decision comes after a period of reflection and challenge. The economics of running a brick-and-mortar gallery—once supported by a steady flow of sales, institutional partnerships, and walk-in engagement—has shifted, asking us to consider new models.

For five decades, the gallery has provided a professional, personal, and ethical space for artists seeking recognition and support—an incubator where emerging artists could explore their craft and ideas, and where established artists continued to take risks. We have been a welcoming place for all: visitors could walk in without cost, encounter serious art, and speak with people deeply committed to the work. We have proudly celebrated artists who were, and sometimes still are, overlooked by mainstream institutions.

The Rena Bransten Gallery has always prioritized dialogue over decoration and long-term relationships over market trends. We have remained steadfast in the belief that contemporary art is not meant to comfort, but to challenge, confront, and inspire change. As John Waters observed when told we were closing our space, “It is the end of an era.”

All of us who have worked at the Gallery have been fortunate to be guided by Rena’s knowledge, experience, and core ethical values, and by her admonition to always—always—put the artists first.

While we are closing the 1275 Minnesota Street location, we will continue to find ways to exhibit and champion some of the most vital voices in contemporary culture. As we assess next steps, our work will continue through remote programming and collaborative exhibitions in new venues, reflecting the same spirit of integrity, curiosity, and care that has defined us since the beginning.

We extend our deepest gratitude to the Minnesota Street Project community for their partnership and generosity, and to the artists, collectors, curators, and friends who have sustained this gallery for half a century.

We invite you to stay in touch as we move into this next chapter.

Black and white photograph of forest path with thick vines, by Dawoud Bey

Dawoud Bey: Elegy
New Orleans Museum of Art

Through the interweaving of three photographic series—"Stony the Road "(2023), "In This Here Place" (2019), and "Night Coming Tenderly, Black" (2017)—Bey offers a framework through which to conceptualize the landscapes of Virginia, Louisiana, and Ohio (respectively) not merely as sites of a troubled history, but also as places that still hold the memories of our shared American past. The exhibition also includes two films: "Evergreen" (2019) and "350,000" (2023).

Amalia Mesa-Bains Emblems of the Decade: Borders

On view in the exhibition "As Above, So Below"
The Flag Art Foundation, NY
September 18, 2025-January 17, 2026

A group exhibition amassing artworks and ritual objects to explore frameworks of faith, uncertainty, death, remembrance, and transcendence. ​

Installation view of "Emblems of the Decade: Bordes," by Amalia Mesa-Bains

Amalia Mesa-Bains Museum Acquisition + Exhibition: Whitney Museum of American Art, New York, NY

Amalia Mesa-Bains, "Cihuateotl with Hand Mirror from Venus Envy Chapter III: Cihuatlampa, the Place of the Giant Women," 1997–2022, mixed media installation, 180 inches (diameter)

This piece is currently on view in the exhibition "Shifting Landscapes" at the Whitney, through January 25, 2026.

Rupert Garcia
"Sixties Surreal"
Whitney Museum of American Art, New York, NY

On view September 24, 2025–January 19, 2026

"Sixties Surreal" is an ambitious, scholarly reappraisal of American art from 1958 to 1972, encompassing the work of more than 100 artists. This revisionist survey looks beyond now canonical movements to focus instead on the era’s most fundamental, if underrecognized, aesthetic current—an efflorescence of psychosexual, fantastical, and revolutionary tendencies, undergirded by the imprint of historical Surrealism and its broad dissemination. Image: "Unfinished Man," 1968, acrylic on canvas, 48 x 48 inches. Collection of MoMA, NY. Photo by John Janca

Painting with blue background and half face

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1275 Minnesota Street
San Francisco, CA 94107

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