Inside Superchief Gallery, murmurs of excitement and eagerness filled the air. Around 60 people gathered in the downtown art space for a screen printing workshop on a late summer evening in August.
Young families, friend groups and couples filled neon pink pews, ready to print designs on T-shirts. Salsa music blared over the speakers as a few stragglers took their seats and others admired artwork on the walls, including a fine-line David Lynch drawing, a ceramic Garfield and a depiction of a lowrider’s paint job.
Despite the lively atmosphere, this gathering might be one of the last. Co-founder Bill Dunleavy said the gallery may be forced to close this month if it can’t raise enough money to pay the bills.
“We thought we had until November to save Superchief, but it came early,” Dunleavy said. “It’s not easy to build the type of community we’ve built. It would be a real shame, and set the culture back to some degree.”
For over a decade, Superchief has established itself as a place where punk rockers, graffiti writers, street photographers, homegrown fine artists and anyone with a piqued interest in counterculture gather to celebrate art.
The gallery’s possible closure would add to the list of shuttered businesses in downtown L.A. that have struggled to rebound following the COVID-19 pandemic. Although downtown continues to attract residents, many office buildings are struggling with falling values and high vacancies.
This year alone, the neighborhood has seen legacy kitchens like the Original Pantry Cafe and Cole’s French Dip face permanent closure. The Mayan, a historic nightclub, is set to shut down later this month and Angel City Brewery announced that its Arts District taproom is being put up for sale.
Nick Griffin, executive vice president of the DTLA Alliance, a coalition of property owners, said the closures reflect the “ebb and flow” of business and changing tastes rather than conditions in downtown.
“Superchief might be closing, but Dataland, the digital AI Art Museum up on Bunker Hill, is going to be opening next year. The Lucas Museum, a massive billion-dollar museum, is opening in Exposition Park. The Broad is doing a $100-million expansion of its facility,” said Griffin. “It’s the normal churn of businesses and culture.”
He says that more businesses are opening in the area than are closing, but the ones that are closing tend to be “very high profile,” cater to niche audiences and often have a cult following — like Superchief.
Art galleries have faced their own challenges.
The global art market declined 12% in 2024, marking its second consecutive year of falling sales, according to the Art Basel and UBS Global Art Market Report. Facing shrinking revenue and rising overhead costs, several other art galleries across the city, like Blum, Clearing and Tanya Bonakdar, have also recently announced the closure of their L.A. locations.
Dunleavy first started to notice a falloff in business about a year ago. The gallery’s usual sponsors, who would attach their names and brands to the various exhibitions, started to pull out and revenue from digital art (NFT) sales declined.
“People are just being more careful with their money,” Dunleavy said. “They’re scaling back their advertising and promotional budgets. At the same time, fewer people are buying art. These are the two things that keep an art gallery business model afloat: sponsors and sales.”
Last spring, he and his business partner Ed Zipco launched a fundraising campaign to help save Superchief. They started a Patreon, a monthly subscription service tailored to individual audiences where members are invited to attend special events and get various perks for a monthly fee ranging $10 to $30.
Subscribers and regular gallery-goers have since carved pinewood derby cars, participated in a figure drawing class where models in lingerie were bound by ropes and shopped at a monthly vendor market. The crowdfunding now has about 400 members.
Although the fundraising has helped, the gallery isn’t making enough to cover monthly expenses that range from $10,000 to $15,000, most of it to pay for renting the 10,000-square-foot building on South Los Angeles Street.
The gallery employs two part-time employees and is now open only on the weekends. Dunleavy disclosed that he hasn’t paid himself in over two years and has taken on more loans to meet expenses.
“We started to incur a lot of debt in order to stay afloat, hoping things were going to get better. But things didn’t get better, they just got worse,” he said.
Superchief moved into its current location in 2022. The gallery, which opened in 2014, was previously housed in a warehouse in Skid Row where it shared space with artists. It soon built a relationship with L.A.’s underground art scene, selling artworks and competing with larger mainstream galleries.
In 2020, a few weeks before the pandemic, a nearby explosion damaged the building, and the gallery was forced to relocate to its current location.
“The economy is unreliable, and the art market is not what it was pre-pandemic, so it’s forcing us to make some real pivots and adaptations,” Dunleavy said.
Though September may be the final curtain call for the gallery, Dunleavy hasn’t given up. He plans to host ticketed parties and other fundraising events with the gallery’s associated artists.
“Patreon is about halfway where it needs to be in order to be sustainable,” Dunleavy said. “I’ve learned how to cope with stressful situations by throwing crazy parties and unconventional events — so that’s exactly what I plan to do.”
Surrounded by ink-flooded screens and piles of white T-shirts used for the August workshop, Audrey Caceres, a frequent Superchief goer, had just finished printing her pink jersey with the gallery’s logo in bright blue ink. The Boyle Heights resident says the gallery’s location, on the outskirts of downtown near East 21st Street, has brought new life to the commercial area.
“I really can’t imagine LA [sub]cultures without Superchief. It’s such a strong foundation for photographers, zine makers, and multimedia artists,” Caceres said. “So, if they weren’t here, I don’t know where people would run to display their work.”
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