The Gallerist

Monthly conversations with gallerists across the globe

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Jean Bosphore, California Desert, 2025. Courtesy of sobering.

Jean Bosphore, California Desert, 2025. Courtesy of sobering.

The Gallerist Archive

Portrait of Peggy Leboeuf. Courtesy of Perrotin.

Portrait of Peggy Leboeuf. Courtesy of Perrotin.

Gallerist Spotlight: Peggy Leboeuf, senior director at Perrotin, New York

Meet Peggy Leboeuf, senior director of powerhouse gallery Perrotin’s New York space. A graduate of La Sorbonne Paris, Leboeuf started working for founder Emmanuel Perrotin in 1996, becoming the French dealer’s second employee just six years after he opened his first gallery in Paris. In 2013, Leboeuf spearheaded the Perrotin’s first New York location in the Upper East Side, before helping launch its 2,300-square-meter space in the Lower East Side in 2017.

At Frieze New York last week, Perrotin presented a solo booth of works by Claire Tabouret, which was selected as one of Artsy’s best booths from the fair. The Gallerist spoke to Leboeuf about New York Art Week, art fairs, and how Artsy supports the gallery’s outreach.

What were your broad impressions of New York Art Week and Frieze? What’s your overall strategy for the week, and how has it evolved from previous editions?

The preview day of Frieze New York was very busy—even some of my favorite French clients came! Since all major fairs were happening at the same time, compared to being spread across two weeks last year, there was a high concentration of people in the city at the same time. For the first time at Frieze New York, we decided to focus on a solo presentation, with a new series of works by Claire Tabouret. It has been an important year for Claire, as she was honored with a commission to create the stained glass windows of Notre Dame and will have an exhibition at the Grand Palais. For our booth, she made seven amazing portraits of herself and her two daughters in peaceful states of rest, offering a moment of reflection in a chaotic time. We also decided to extend our Frieze Week programming with a group showroom at our Lower East Side gallery…This dual approach allowed us to maximize our reach between the gallery and the fair.

How does your team integrate online platforms like Artsy into your broader fair week strategy—whether that’s for building buzz, connecting with collectors, or supporting sales?

Our online strategy evolves for each presentation, which can be to boost sales, in-person attendance, or reach new audiences. When there is a group presentation, we utilize platforms like Artsy for supporting sales, but when we have a small solo presentation, it becomes about amplifying the presence of the artist and building excitement. This is why we had an online presentation of our dedicated showroom during Frieze Week.

What advice would you give to galleries when it comes to integrating their digital operations into these IRL moments?

Publishing at least installation views of every presentation is incredibly helpful in spreading the word about what you have going on. Artsy can be a great platform for growing your audience, both with collectors and a broader public. The page has to be dynamic. Nothing will happen if you just add a few images here and there: It takes consistency and needs to be uploaded correctly. To help with this, one of our team members is in charge of updating Artsy and helping us understand how to use it better. Thanks to him!

Meet Peggy Leboeuf, senior director of powerhouse gallery Perrotin’s New York space. A graduate of La Sorbonne Paris, Leboeuf started working for founder Emmanuel Perrotin in 1996, becoming the French dealer’s second employee just six years after he opened his first gallery in Paris. In 2013, Leboeuf spearheaded the Perrotin’s first New York location in the Upper East Side, before helping launch its 2,300-square-meter space in the Lower East Side in 2017.

At Frieze New York last week, Perrotin presented a solo booth of works by Claire Tabouret, which was selected as one of Artsy’s best booths from the fair. The Gallerist spoke to Leboeuf about New York Art Week, art fairs, and how Artsy supports the gallery’s outreach.

What were your broad impressions of New York Art Week and Frieze? What’s your overall strategy for the week, and how has it evolved from previous editions?

The preview day of Frieze New York was very busy—even some of my favorite French clients came! Since all major fairs were happening at the same time, compared to being spread across two weeks last year, there was a high concentration of people in the city at the same time. For the first time at Frieze New York, we decided to focus on a solo presentation, with a new series of works by Claire Tabouret. It has been an important year for Claire, as she was honored with a commission to create the stained glass windows of Notre Dame and will have an exhibition at the Grand Palais. For our booth, she made seven amazing portraits of herself and her two daughters in peaceful states of rest, offering a moment of reflection in a chaotic time. We also decided to extend our Frieze Week programming with a group showroom at our Lower East Side gallery…This dual approach allowed us to maximize our reach between the gallery and the fair.

How does your team integrate online platforms like Artsy into your broader fair week strategy—whether that’s for building buzz, connecting with collectors, or supporting sales?

Our online strategy evolves for each presentation, which can be to boost sales, in-person attendance, or reach new audiences. When there is a group presentation, we utilize platforms like Artsy for supporting sales, but when we have a small solo presentation, it becomes about amplifying the presence of the artist and building excitement. This is why we had an online presentation of our dedicated showroom during Frieze Week.

What advice would you give to galleries when it comes to integrating their digital operations into these IRL moments?

Publishing at least installation views of every presentation is incredibly helpful in spreading the word about what you have going on. Artsy can be a great platform for growing your audience, both with collectors and a broader public. The page has to be dynamic. Nothing will happen if you just add a few images here and there: It takes consistency and needs to be uploaded correctly. To help with this, one of our team members is in charge of updating Artsy and helping us understand how to use it better. Thanks to him!


Meet Peggy Leboeuf, senior director of powerhouse gallery Perrotin’s New York space. A graduate of La Sorbonne Paris, Leboeuf started working for founder Emmanuel Perrotin in 1996, becoming the French dealer’s second employee just six years after he opened his first gallery in Paris. In 2013, Leboeuf spearheaded the Perrotin’s first New York location in the Upper East Side, before helping launch its 2,300-square-meter space in the Lower East Side in 2017.

At Frieze New York last week, Perrotin presented a solo booth of works by Claire Tabouret, which was selected as one of Artsy’s best booths from the fair. The Gallerist spoke to Leboeuf about New York Art Week, art fairs, and how Artsy supports the gallery’s outreach.

What were your broad impressions of New York Art Week and Frieze? What’s your overall strategy for the week, and how has it evolved from previous editions?

The preview day of Frieze New York was very busy—even some of my favorite French clients came! Since all major fairs were happening at the same time, compared to being spread across two weeks last year, there was a high concentration of people in the city at the same time. For the first time at Frieze New York, we decided to focus on a solo presentation, with a new series of works by Claire Tabouret. It has been an important year for Claire, as she was honored with a commission to create the stained glass windows of Notre Dame and will have an exhibition at the Grand Palais. For our booth, she made seven amazing portraits of herself and her two daughters in peaceful states of rest, offering a moment of reflection in a chaotic time. We also decided to extend our Frieze Week programming with a group showroom at our Lower East Side gallery…This dual approach allowed us to maximize our reach between the gallery and the fair.

Our online strategy evolves for each presentation, which can be to boost sales, in-person attendance, or reach new audiences. When there is a group presentation, we utilize platforms like Artsy for supporting sales, but when we have a small solo presentation, it becomes about amplifying the presence of the artist and building excitement. This is why we had an online presentation of our dedicated showroom during Frieze Week.

What advice would you give to galleries when it comes to integrating their digital operations into these IRL moments?

Publishing at least installation views of every presentation is incredibly helpful in spreading the word about what you have going on. Artsy can be a great platform for growing your audience, both with collectors and a broader public. The page has to be dynamic. Nothing will happen if you just add a few images here and there: It takes consistency and needs to be uploaded correctly. To help with this, one of our team members is in charge of updating Artsy and helping us understand how to use it better. Thanks to him!


Portrait of Martin Brémond and Mathieu Capela. Courtesy of Bremond Capela.

Portrait of Martin Brémond and Mathieu Capela. Courtesy of Bremond Capela.

Gallerist Spotlight: Peggy Leboeuf, senior director at Perrotin, New York

Meet Mathieu Capela, co-founder of the newly rebranded Parisian gallery Bremond Capela. Originally founded as cadet capela in Le Marais by Capela and Julien Cadet in 2018, the gallery welcomed Martin Brémond—alum of Almine Rech and Perrotin—as a partner last year. With Cadet stepping down, the gallery aims “to continue championing artists whose work challenges both aesthetic and social conventions,” according to Capela.

The Gallerist spoke to Capela about the rebrand, Paris’s buzzy art scene, and how Artsy supports the gallery’s mission.

What are some of the themes you’re noticing in the Paris art scene at the moment?

A younger generation of galleries is bringing real energy to the city, each developing a strong identity. There’s a diversity of voices, formats, and curatorial approaches. What’s especially encouraging is the sense of community that exists between us.

While cities like London or New York offer a wide range of gallery platforms—from collaborative initiatives to shared spaces—Paris is still catching up. That’s what makes it so thrilling to be here. We have the opportunity to shape what that next chapter could look like, and we’re excited to be part of this generation that’s helping define what’s to come.

How does Artsy fit into your overall business strategy? How do you use Artsy to promote your program?

Artsy is often the perfect entry point for a first connection. We really see it as a marketing tool—an incredible way to increase visibility for our artists and exhibitions. Once this initial contact is made, we rely on more traditional methods—emails, calls, or WhatsApp messages—to build and nurture the relationship. In that sense, Artsy plays a key role in broadening our reach and supporting the first steps of engagement with new collectors.

We make sure to share available works from our exhibitions and sometimes exclusive pieces for online-only visibility. We often coordinate uploads with press announcements or fair participation to create momentum. What we value most is the ability to introduce our program to people who might not know us yet. Artsy allows for that first encounter to happen in a dynamic and accessible way.

How do you nurture your relationships with new collectors?

We approach new collectors with transparency, patience, and a genuine interest in sharing the artist’s vision. We always try to go beyond a purely transactional relationship. Of course, there are key moments where connections deepen. But increasingly, relationships are built and maintained at a distance.

That said, we try to reclaim the role of the gallerist—not just the seller. We believe in taking time to engage in real conversations about the artists we represent.

Following the rebrand, how do you envision Bremond Capela evolving in the coming years?

With Martin Bremond joining as a partner, bringing experience from major galleries, we’ve strengthened our curatorial vision while preserving the intimacy and agility of a younger structure. The name change signals both continuity and a renewed commitment to long-term vision.

Portrait of Millie Jason Foster. Courtesy of Gillian Jason Gallery.

Portrait of Millie Jason Foster. Courtesy of Gillian Jason Gallery.

Gallerist Spotlight: Millie Jason Foster, director of Gillian Jason Gallery

Meet Millie Jason Foster, director of London’s Gillian Jason Gallery. The gallery was founded by Foster’s grandmother, Gillian Jason, in 1980 and exclusively works with women artists. Foster re-opened the gallery in 2019 with her mother Elli before taking the reins herself in 2021. Today, its roster features a slate of buzzy women artists, including Eleanor Johnson and Jess Cochrane.

The Gallerist spoke with Foster to discuss her approach to supporting women artists and how Artsy supports her gallery’s mission.

How would you describe your gallery’s mission of supporting women artists?

Today, Gillian Jason Gallery supports female artists at two ends of the spectrum. On the one hand, we champion emerging talent in order to provide a platform for current voices while creating career longevity. On the other hand, we rebuild estates of female artists from the late 20th century who were passed over and now deserve recognition for their contributions to art history.

What are the Artsy tools your gallery uses most? What would you recommend to galleries on Artsy?

Using the curatorial texts, we like to take advantage of Artsy’s Viewing Rooms. This format allows us to create mini catalog-style explorations of specific artists in a group show or a one-off painting from an artist.

We recommend utilizing the knowledge of the Artsy team. They are well-versed in how to post, write, and communicate with collectors on the platform. We continue to learn.

What are some of the main ways that you amplify your artists?

We aim to amplify our artists’ voices both within and outside Gillian Jason Gallery. We have a curatorially rich program, and we create detailed catalogs for each exhibition we put on. That means that every artist who shows at the gallery has an in-depth written text on their practice, often all the way down to a description of the concepts behind each specific artwork on show. These resources are disseminated across digital platforms for clients and industry alike to access and enjoy.

Outside the scope of the gallery, we are always connecting with like-minded galleries on the international scene. It is within our ethos that artists should grow at a faster rate than the gallery itself. Through these partnerships, we can help the best female artists gain exposure and find a platform for their voices on an international level.