Miles McEnery Gallery is a contemporary art gallery with four locations in the Chelsea neighborhood of New York City.

The gallery is the evolution of Ameringer | McEnery | Yohe where McEnery was a Partner and Managing Director.

Ameringer | McEnery | Yohe emerged in 1999 in the wake of the closing of the venerable André Emmerich Gallery, where Will Ameringer and James Yohe served as Directors. After more than forty years in business, the André Emmerich Gallery was sold to Sotheby’s in 1996, and it subsequently ceased operations in 1998.

Ameringer | McEnery | Yohe traces its roots to 41 East 57th Street on the corner of Madison Avenue in the iconic Fuller Building, originally constructed in 1929 in the Art Deco Style.

Specializing in Post-War American Art with an emphasis on Abstract Expressionism, Color-Field, Hard-Edge, and related painting, the gallery routinely mounted major exhibitions by Helen Frankenthaler, Al Held, Hans Hofmann, Morris Louis, Robert Motherwell, John McLaughlin, Kenneth Noland, and Jules Olitski, among notable others. 

The gallery was granted membership to the Art Dealers Association of America (ADAA) in 2001 and Miles McEnery Gallery continues to exhibit at the ADAA Art Show. As a member of the ADAA, the gallery is committed to maintaining the highest standards of integrity, scholarship, and connoisseurship.

Miles McEnery Gallery presents exhibitions by a multigenerational roster of artists whose works are linked by their drive to discover the points at which the paths of pleasure and knowledge intersect.

Sometimes that happens organically: minds and bodies working in concert as insight and enjoyment dovetail gracefully. At other times it’s awkward. And unsettling. And consequential.

Conflict enters the picture when what you feel and what you know tug you in different directions. That tension creates experiences that compel you to reorganize your relationship to the world—starting with your self, which is, hopefully, a fairly complex constellation of experiences and imaginings, facts and fantasies, realities and relationships.

Prescriptive art is nowhere to be found. Nor are one-dimensional works, single-issue statements, or academic rehashes of ideas that have been thoroughly worked through by previous generations.

Painting and drawing predominate. This is not because these media are historically important or intrinsically valuable, but because they are basic: simple technologies that record, often in exceptionally nuanced ways, the gestures and maneuvers of a consciousness in action (making decisions, adapting to circumstances, working through rough spots, and coming to conclusions—only to start all over again in the next painting or drawing). The drama—of striving to do something and then striving to do more—opens up all sorts of stories. Each story has lots to say about all sorts of situations, artistic and otherwise. Often both.