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Price Range
Mid-market to upper-mid
Rachel Lehmann and David Maupin founded their gallery in 1996 in New York's SoHo, driven by a conviction that the most interesting art was being made outside the Western canon long before the market agreed. Their early championing of Korean artists Do Ho Suh and Lee Bul — when Korean contemporary art had virtually no Western market — proved prescient. Both are now blue-chip names, and the gallery's Asian expertise has been validated by a decade of explosive growth in Korean collecting. Today Lehmann Maupin operates spaces in Chelsea (New York), Seoul, and London, with a roster that spans Teresita Fernández, McArthur Binion, Hernan Bas, Mandy El-Sayegh, and Gilbert & George alongside its Asian program. The gallery occupies a distinctive sweet spot: blue-chip infrastructure and curatorial standards, but with pricing that remains accessible relative to mega-gallery competitors. Primary market works typically range from $10,000 to $500,000 — a band where serious collectors can build significant holdings without the waitlists and allocation games that characterize the top tier. The Seoul gallery positions Lehmann Maupin as a bridge between Western and Asian art worlds, giving collectors on both sides of the Pacific access to programs they would not easily encounter locally. This cross-pollination model — rather than pure geographic expansion — is what makes their approach distinctive.
Represents artists directly and sells new works
Lehmann Maupin is one of the most approachable galleries in the blue-chip tier. The price range ($10K-$500K) means that a collector can acquire significant works without the six-figure minimums typical at Hauser & Wirth or Zwirner. Visit the Chelsea space for major exhibitions and the Seoul gallery if you are building an Asian contemporary collection. The gallery is transparent about pricing and does not require extensive relationship-building before making a purchase — a refreshing contrast to galleries that treat price inquiries as social tests. For Korean contemporary specifically, Lehmann Maupin's decades of expertise means their advice on market positioning and artist trajectories is genuinely informed.
0 collectors following
Lehmann Maupin's greatest asset is timing: they committed to Asian contemporary art before it was commercially viable and built genuine expertise rather than opportunistic market-following. The Seoul operation is not a satellite — it functions as a full program with curatorial autonomy. This gives the gallery credibility among Korean collectors and institutions that latecomers cannot replicate. The mid-market positioning is a deliberate strategy, not a limitation; it attracts committed collectors who are building collections rather than speculating on flips.