In a pay-to-play ecosystem designed largely to keep art galleries coming back and collectors entertained, new galleries looking to gain a foothold can’t stray too far from the traditional model. But institutional Al-Buda Fine Arts Gallery I didn’t want to play the game the way it’s usually played, and in fact, it deviated so much from the norm that – on paper – it looks more like a social justice initiative than fair. But BUTTER, which launched in 2021 in Indianapolis and expanded to Los Angeles during Los Angeles Art Week, is very much a gallery, albeit an experimental one that explores in real time what happens when the economic structure of an art gallery is rebuilt around artists.
Launched in 2021 in Indianapolis by the cultural development organization GANGGANG, co-founded by Malena Simone Jeffers and Alan Bacon, BUTTER follows the reckoning on racial equity that has swept the cultural sector post-2020, and asks a straightforward question that most galleries avoid: If artists generate value, why do they see so little revenue? The answer is structural, not rhetorical. Instead of the usual path of art fairs — galleries apply for booths, pay exorbitant fees and submit a roster of artists — the fair features artists and art groups holding live exhibits. Invited artists are selected through a judicial selection process, and not only pay booth rental fees; The show also covers travel and accommodation. Most importantly, the financial model removes many of the middlemen who typically cut profits at the top. There are no commissions, so proceeds from sales flow directly to the artists in one of the few serious attempts in the US arts ecosystem to redistribute economic power.
In its first five years, BUTTER Gallery featured nearly 200 artists, welcomed more than 46,000 visitors, and generated more than $1 million in art sales, all of which were directed to the artists. Each session typically features between 30 and 50 models from emerging names, mid-career artists, and established figures from across the United States and the broader African diaspora. Price points reflect the same diversity: works can start in the low hundreds and climb into the six-figure range, making the gallery as comfortable for first-time collectors as it is for seasoned buyers.
But the exhibition’s appeal is not just economic. BUTTER sits squarely at the intersection of several shifts reshaping the contemporary art landscape: the increasing insistence on equality for black artists who have historically been marginalized by the commercial gallery system, the decentralization of the art market away from its usual ivory towers and a wave of artist-focused platforms experimenting with new ways of connecting creators and collectors.
Ultimately, BUTTER is an equal parts market and proving ground. The fair has managed to expand beyond its Midwestern origins in just a few short years, suggesting that the model has legs beyond its original urban context, but whether it can reshape broader fair culture remains an open question. The Observer caught up with Jeffers and Bacon to learn more about the origins of the exhibition, how it works and where it is headed.
First, tell me about GANGGANG. What led you to focus on the intersection between social justice and the arts?
In 2020, during the social justice and unrest happening across the country, we saw the need to make culture a platform for justice. With our deep experience in civic engagement and creative advocacy, we wanted to develop a model focused on equity—not just in mission but in economic impact—by ensuring artists retain control over their work, their narrative, and their financial future. GANGGANG is about giving the power back to the artists and creatives who make our culture meaningful. It’s about suggesting to cities that the centrality of arts and culture can improve the bottom line and equity within a place and its narrative.
As for the exhibition, let’s start with the obvious! Why “butter”?
Butter softens the hard structures of the art market. It suggests that culture can be nourishing, accessible, and built on joy, not just on commerce. It is a cultural signal that denotes softness, distinction and confidence. We wanted a name for the experience that immediately felt familiar and comfortable to everyone.
Art galleries are not the first thing I think of when I think of justice. How has launching an art gallery supported GANGGANG’s mission?
Traditional art fairs revolve around galleries, dealers and institutions, while artists often receive only a small portion of the sales. Through Butter, we flip the narrative by centering the artists. From the beginning, we designed the gallery to maximize artists’ agency and profits, providing a space where artists sell directly to collectors and keep 100 percent of their proceeds with no entry fees, exhibition fees, or commissions. Since 2021, BUTTER has generated over $1.5 million in sales going directly to artists, with the BUTTER LA inaugural grossing over $175,000, proving that justice and sustainability are not mutually exclusive.
How can a gallery in which 100 percent of sales proceeds go directly to the artists function financially? What are the biggest structural obstacles to holding an exhibition without commission?
The no-commission model requires intentional revenue planning. Sponsorship, grant support, ticket sales and partnerships underwrite production costs, including everything from venue rental to staffing and event infrastructure, so artists don’t have to absorb these costs or pay commissions. An unconventional model like ours requires funders who understand long-term value versus short-term branding, and that’s not something every partner is used to dealing with.
The biggest structural hurdles are perception and scale. Many sponsors and organizations are conditioned by traditional pricing models and sharing visibility. We are constantly working to educate our partners on why investing in artists first is not only ethical, but smart. When they see artists keeping 100% of their sales and building viable career paths, we win over the skeptics.
Who is your target collector? WHO BUYS AT BUTTER?
Our collectors include experienced collectors who are expanding their collections and institutional buyers who acquire pieces for permanent possessions. We are also a place for first-time buyers investing in original works, as we build the collector market alongside the artists.
Do you feel there is a tension between business and commerce with an initiative like this? Or the possibility of this happening if the butter becomes much larger?
There’s always tension when you’re building within systems that you’re also criticizing. But for us, trade is not at odds with our value, extraction is. We intentionally designed both experience and economics to be ahead of artists, and with the butter scale, this imperative deepens. Growth does not mean dilution, but rather expanding opportunities for artists, collectors and cultural stakeholders to participate in a fair market. Our commitment to economic justice and structural access remains non-negotiable.
How was it different having the show in Indianapolis versus having the show in Los Angeles?
Indianapolis is where the experience began, and it is rooted in community, context, and a deep sense of ownership. Its impact is clear: artists, families and local institutions see their city anew, and this place-based pride makes the experience powerful. In contrast, Los Angeles is expanding this model to the global market at a different pace and scale. The collector base in Los Angeles is broader and more institutionally connected, but the ethos is the same – the demand for equitable, culturally grounded, and artist-centered art experiences. Now, with BUTTER LA produced by standeo – our production agency designed to scale these experiences – we are able to bring our model to new markets thoughtfully, rooted in societal and cultural impact.
Do you have ideas about future markets you would like to break into?
We intend to expand. The goal is not a coast-to-coast imprint, but rather to nurture environments in which artist ecosystems can thrive. Cities with rich creative histories and emerging Black arts communities seem like natural candidates, but any new market must align with our values of access, long-term investment, and deep community engagement. Butter requires a significant emotional, financial, and physical investment. Where it spreads should be based on advocacy and influence.
What kind of feedback did you receive from the artists who participated in the Los Angeles version of the exhibition?
Reactions in Los Angeles were very positive. There was a clear feeling that Los Angeles needed something like BUTTER: a platform that intentionally highlighted black artists while also introducing new audiences to collect in a way that was accessible rather than intimidating. The artists shared their sense of being positioned during Los Angeles Art Week, rather than being placed on the fringes of large exhibitions. For many, it wasn’t just about sales, but about visibility, building relationships, and focusing on the richness of Black LA’s cultural ecosystem. BUTTER offers a different kind of art experience during the week that often feels exclusive by ensuring accessibility for students, families and first-time collectors.
Who is working in your group? Which artists should our readers be following?
Indianapolis artists love Ashley Nora, Fitz! and Gary J Represents the depth of emerging talent from the Midwest. Ashley’s work carries emotional and textural resonance that feels intimate and expansive, while Gary’s sculptural practice reflects a distinct point of view rooted in community and lived experience. The artists collectors should follow are those who are building sustainable career paths, shaping the visual language in real time, and expanding what the art market allows. Many of them come through butter.
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