How Beverly’s, the Art World’s Favorite DIY Bar, Made Its Triumphant Return

One year ago, on a chilly evening in October, several hundred attendees filled a section of sidewalk on Grand Street in Manhattan’s Chinatown. They enjoyed a vibrant performance by Adrian Jusdanis, a violinist from the band New Thousand. While captivating, Jusdanis was merely the prelude to the highlight of the evening: the reopening of Beverly’s, an artist-driven bar first opened in 2012 at 21 Essex Street, which closed due to the pandemic in 2020. Although temporary exhibitions and spaces popped up post-closure, finding a permanent venue had been a challenge.

When Beverly’s relocated to 297 Grand Street, founder Leah Dixon envisioned a celebratory gathering. Yet she also anticipated a sense of loss: mourning the old location, recognizing the shifts in New York since COVID, and acknowledging the tumultuous journey back. She pictured everyone waiting at the entrance, sharing the experience of having been temporarily shut out. “No one gets to just walk right in,” Dixon, also a sculptor, explains. “While I worked on the space, it didn’t truly feel like Beverly’s until everyone stepped through the door.”

To grasp why hundreds waited outside for an hour in the 48-degree weather for entry into a bar that does not advertise, lacks celebrity endorsements, offers no extravagant signature drinks or food, and is not financially backed by big investors, one must delve into the intricate network Beverly’s has established within the art community. Since the inception of its original location over a decade ago, Beverly’s has showcased the artworks of approximately 300 artists such as Michael Assiff, Zachary Fabri, Emily Weiner, Edward Salas, Carlos Rosales-Silva, and Azikiwe Mohammed. It has provided artists with job opportunities that support their creative endeavors. Beverly’s has become a hub where friendships, romances, and transactions between collectors and dealers flourish. The team behind Beverly’s has also curated exhibitions in locations like Puerto Rico, Miami, and Mexico City, participating in the Material Art Fair for the past decade. Moreover, Beverly’s may host anything from a zine fair to a late-night DJ set or a political gatherings. Acting as a modern-day Cheers for a particular segment of the artsy downtown demographic, Beverly’s thrives on a punk-inspired DIY ethos and remarkable resilience.

“I view Beverly’s as a living artwork, continuously evolving and supporting generations of artists through its various incarnations in New York City,” remarks Anne-Laure Lemaitre, an independent curator.

“It embodies a space where possibilities abound. All activities stem from a genuine passion, which remains the sole option for many of us,” shares Rosales-Silva, who, aside from showcasing his artworks at Beverly’s, is contributing to its developing nonprofit.

However, Beverly’s history isn’t limited to emerging artists. The multidisciplinary artist Jo Shane, who has spent five decades as an artist in New York City, describes Beverly’s as a “safe haven.” She first visited the original location in 2015. “Beverly’s reflected a space where avant-garde work was respected, while also operating outside traditional gallery confines,” she fondly recalls. “Back then, I would have given anything to exhibit there.” (She did showcase her installation at Beverly’s in 2018, arms intact.)

Now, one year into the new space, Dixon is contemplative. Can they replicate the magic of Essex Street at Grand, especially as the neighborhood, the art scene, and surrounding culture have evolved?

The narrative of Beverly’s is deeply intertwined with its neighborhood. Dixon relocated to New York City from Ohio in 2004 — “I literally moved right after my last final exam.” The address of her first apartment was 21 Essex Street, leading to her eventual lease of Beverly’s in 2012 due to familiarity with the landlord. Back in those early 2000s, the Lower East Side was nearly unrecognizable compared to today’s Dimes Square. “The only notable place was 169,” reflects Dixon. She managed Welcome to the Johnsons, a uniquely themed dive bar on Rivington that miraculously still operates, before moving to manage Sweet Paradise Lounge on Orchard Street in 2007, a vibrant spot popular with young artists like her, offering $3 beers. “Anyone who frequented there can see its influence in Beverly’s,” she notes, though gentrification was already on the rise, and Sweet Paradise eventually succumbed to new ownership from The Fat Radish owners across the street.

When Sweet Paradise closed in 2010, Dixon seized the opportunity to implement a new vision — merging art and nightlife into a dynamic space. She proposed the concept to Chris Herity, an acquaintance from Sweet Paradise who was eager to team up. They recognized the need for a strong connection to secure a lease and luckily, their former landlord at 21 Essex agreed to rent them the modest ground-floor area. Their preparations met an abrupt interruption when Hurricane Sandy struck at the end of 2012, causing delays for months before they officially opened in February 2013.

Justin Wilson, who had moved from California for a design role at American Eagle shortly after Beverly’s launch, was drawn to its distinct aesthetic. “The purplish-pink glow beckoned from the street,” he remembers, noting the selection of deep ’80s soul music playing within. After engaging a bartender in conversation, he became a regular and eventually a partner in the 297 Grand Street location.

“Beverly’s hosted numerous transformative moments for me,” he reflects. Following Trump’s initial presidential election win, the atmosphere shifted from celebratory to somber, reminiscent of a funeral.

Events at the original Beverly’s were beloved among skaters and fashion enthusiasts as much as artists. Edward Salas, a sculpture artist who began tending bar in 2016 and now manages bookings at the new venue, recalls, “People attended simply because it was the neighborhood bar.”

However, in 2020, Beverly’s Essex Street location succumbed to the fate of countless small businesses as a result of the COVID pandemic. The already tight margins rendered it unsustainable to operate at reduced capacity. They announced the closure of 21 Essex on July 1, 2020.

Post-closure, Beverly’s found a temporary residence at 5 Eldridge Street, a tiny venue in Chinatown from 2021 to 2023. They creatively funded their lease and renovation, hosting “speakeasy-style events” where attendees paid a nominal fee for access to immersive exhibitions. “These stunning events fostered community,” Dixon explains.

The first time Lemaitre, the curator, encountered Beverly’s was at the Eldridge location. She was immediately struck by the inclusive community engagement. “Art spaces often seem dismissive toward public participation with innovative work. Beverly’s fosters genuine interaction, free from such constraints,” she says.

While gathering audiences at Eldridge felt gratifying, Dixon understood the need for a more permanent location. Seeking a commercial space distanced from noise complaints and the high-end vibe of Dimes Square became paramount.

When the Grand Street spot came through, the focus shifted to obtaining a new liquor license, necessitating community outreach for support. “You stand on the corner for weekends, appealing for signatures and letters of endorsement for the community,” describes Dixon. “After 21 years in this neighborhood intertwined with Chinatown, outreach to every community sector was crucial. Fortunately, when seeking support for 297 Grand, the response was overwhelmingly positive with people expressing gratitude for Beverly’s return.”

However, they return to a significantly altered landscape. Reports suggest Gen Z is drinking less, and nightlife has shifted towards exclusive, RSVP-driven events. “Managing a 10-year lease is markedly tougher than running a short-term pop-up,” notes Wilson. Yet both he and Dixon believe in cultivating a lasting and sustainable model.

Thus far, their approach is succeeding. “Beverly’s continues to serve artists and the wider art community,” Salas shares. The strength lies largely in Dixon’s curatorial vision, which prioritizes giving opportunities to artists even prior to their mainstream recognition.

This month, coinciding with the one-year anniversary, Beverly’s is showcasing an exhibition entitled “Nanna,” which features an array of video, ceramic, painting, photography, and textile artworks by Mollie McKinley, Stina Puotinen, and Alex Schmidt. Recent happenings at the venue include Supper Social, an informal gathering for the emerging art community curated by Lauren Hirshfield; and a collaborative event with Regina’s Grocery, which featured a six-foot-long sub served under a painted display.

More events, parties, and art exhibits are slated for the future. Beverly’s plans to make its presence known at the Untitled Art Fair in Miami this December, and will return to participate in Material in Mexico City next February. A grand fundraiser is planned for Spring to celebrate the 13th anniversary in an offsite location. Additionally, Dixon has several shows lined up for 2026, including exhibitions at New York galleries Trotter and Sholer and Underdonk.

“I often reflect on the significance of social spaces during challenging times, particularly when surrounding circumstances appear chaotic,” Dixon reflects. “I grew up near the Twin Towers during the early 2000s, observing how beneficial communal spaces were for navigating life in a bustling metropolis like New York. This is why establishing a new physical space for Beverly’s was so crucial; a sanctuary for individuals to gather is essential.”

“Beverly’s has profoundly impacted my journey as an artist in New York,” expresses Carlos Rosales-Silva, a long-time member of the Beverly’s community. “It’s truly about cultivating a connection within this wonderful group of misfits.”