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Nicole Will grew up in the Bay Area and studied art history with influential scholars like Laurie Monahan and Abigail Solomon Godeau at the University of California, Santa Barbara before moving to New York in 2005. She has worked for over a decade in contemporary art in New York - as the director of Bortolami Gallery, NY until 2013 and Longhouse Projects, NY until 2015.


She brings 13 years of experience; her relationships with renowned artists, dealers, collectors, curators, writers and art professionals; expertise in contemporary and emerging artists; and her discerning eye to develop her client's personal and corporate collections. She practices the highest standards of professionalism, efficacy, and excellence. 

Most recently, Nicole organized a group exhibition of 14 artists titled A Detached Hand at the distinguished downtown gallery, Magenta Plains. The artists included Hans Bellmer, Elaine Cameron-Weir, Cameron Clayborn, Nicolás Guagnini, Dan Herschlein, Brook Hsu, Caitlin Keogh, Kiki Kogelnik, Israel Lund, Ebecho Muslimova, Narcissister, Bruce Nauman, Christina Ramberg, and Penny Slinger. Artnet News listed it as an Editor's pick and Adam Lehrer wrote this insightful essay on the subject of the show. 


In March 2017, with the curator at New York Public Library of Performing Arts, Nicole organized an exhibition of archival materials from the estate of the late experimental composer, cellist, and electronic music producer Arthur Russell at the Brooklyn Academy of Music. Nicole, Jonathan Hiam and Tom Lee were invited to discuss Arthur Russell and his archive during a 60-minute Red Bull Radio program hosted by Kindness aired on May 3rd. The exhibition was featured in the Village VoiceARTFORUM, Art in America and Pitchfork


Other exhibitions include: the mysterious device was moving forward, a group show including 18 international artists; Joe Fyfe: make me one with everything; Samantha Bittman: Number Cruncher; and the group show Suddenly, Last SummerPublished interviews and essays include Rochelle Goldberg interview for Women Artists Magazine, and an introductory essay on the life and work of Marguerite Burnat-Provins, also for W/A.

FOUR A.M. was a curatorial project in a street-level window at 291 Grand Street in Chinatown, New York City. Presenting over 50 artists in the span of almost two years, oftentimes with site-specific projects, the installation rotated every two weeks keeping up with the quick pace of the passer-by on the street.



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