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The article offers information on the German model store also called as Kaufladens opened by Berlin-based artist Christine Hill in Chelsea. It says that the business will allow gallery visitors to brows shelves of clear jars which contains stickers and plastic toys and other items. It mentions that the store displays an encouraging and inspirational quotes from several artists and writers like John Cage and William Morris.

Ronald Feldman Fine Arts 31 Mercer Street, SoHo [ABSTRACT FROM AUTHOR]

The artist Joan Sherman works in SoHo surrounded by high-end food purveyors, but her latest inspiration was 17th-century Dutch and Flemish genre painting and those overflowing banquet tables. Ms. Sherman particularly liked the lobsters. Such delicacies were not just a merchant culture's token of luxury, in her view, but symbols of adventure, ''a kind of trophy'' of sea voyages to remote corners of the earth. Ms. Sherman's ''crustacean gone wild'' was concocted using fragments of lobster shells cast in bronze. She commissioned the handblown glass bowl the lobster bears on its back and assembled the pieces in her studio. [ABSTRACT FROM AUTHOR]

CORRECTION APPENDED IF you wanted to find a good place in Manhattan from which to plan a manned mission to Mars, the studio of the artist Tom Sachs might not be the first place you would look. On a stretch of Centre Street at the edge of SoHo that has achieved the antique polish of so many fashionable downtown blocks, the storefront studio stands out as a holdover from the neighborhood's pre-money past. The main entrance is barricaded by a rusted metal cage and gate, behind which there is a beaten-up buzzer and a hand-scrawled sign that says, unhelpfully, ''Brancusi.'' If you didn't know an artist and his assistants worked there, you could easily mistake the interior -- encrusted with power tools and cubbyholes and bad fluorescent light fixtures -- for a wholesale hardware supplier. [ABSTRACT FROM AUTHOR]

HOLDING open the door to her fourth-floor loft in SoHo, the choreographer and dancer Elizabeth Streb tried not to laugh at the sounds of exertion as a visitor struggled up the last steep flight of stairs. ''I can't say I don't enjoy it,'' she said mischievously, acknowledging the perverse delight she takes in hearing guests gasp for breath as they clomp up the stairs to reach the place she has called home for the last 34 years. [ABSTRACT FROM AUTHOR]

The boundaries of Occupy Wall Street expanded beyond Zuccotti Park over the weekend, as a splinter group briefly took over an art gallery in SoHo. On Saturday, during a talk about conceptual art at the gallery, Georgia Sagri, a Greek artist, suddenly rose and shouted out, ''This is an occupation,'' witnesses said. About a dozen other people joined Ms. Sagri in declaring the gallery, Artists Space, an autonomous zone. They handed out fliers and taped pieces of pink paper to a wall headed ''Rules of the Space.'' [ABSTRACT FROM PUBLISHER]

Artists Space 38 Greene Street, SoHo [ABSTRACT FROM PUBLISHER]

SoHo was once the hub of the New York art world; now it's a satellite, but a vital one: some of the city's oldest alternative spaces are there, along with new ones, like Third Streaming. Several of these spaces, within blocks of one another on either side of Canal Street (those to the south are technically in TriBeCa), have impressive spring shows that keep a spirit of experimentation alive, and that are, by coincidence, thematically connected. Artists Space opened in 1972 and is still going strong. Under the directorship of Stefan Kalmar it has recently presented a string of solos by artists who, if not discoveries, are low on the New York radar. The latest is the American photographer Mark Morrisroe, seen in a superb retrospective that originated in a different form at the Fotomuseum in Winterthur, Switzerland. [ABSTRACT FROM PUBLISHER]

The Works Progress Administration kept artists employed during the Great Depression, teaching the masses. In New York City about 50,000 people a week, mostly children, took free painting and drawing classes at community centers. The young artists captured details of their daily lives, like rivets on subway cars and filigree brackets on streetlights. They also imagined sandy beaches along the East River and sheep grazing below the Coney Island roller coaster. [ABSTRACT FROM AUTHOR]

As SoHo's iron-boned, sprawling lofts became gold mines over the past two decades, co-op boards, banks, brokers and the city itself winked at a rule requiring that they be reserved for working artists. But over the last year or so, something odd began to occur: people started paying attention to the rule. [ABSTRACT FROM PUBLISHER]

ROBBIN GOURLEY and Jeffrey Stern never expected to live in Brooklyn. They settled in SoHo in 1984, when artists lived in raw lofts and galleries occupied most of the storefronts. ''We bought a place on Crosby Street that was basically air,'' said Ms. Gourley, 56, an illustrator and author and the creative director of children's books for Farrar, Straus & Giroux. [ABSTRACT FROM PUBLISHER]

THE day before the opening of his show at Harris Lieberman Gallery in SoHo, the Mexican artist Daniel Guzman was crouched on the floor, lashing bamboolike sticks together with leather cord to create rectangular building blocks. The sticks were carrizo, he explained, a traditional cane used by the Mixtec people of Oaxaca to make everything from baskets to buildings. The blocks would soon be assembled into a squared-off shape resembling an altarpiece, topped by a shattered ceramic head. This is the first time he has worked with this material, Mr. Guzman said. ''My mother is from Oaxaca, and I have Indian blood. I wanted to confront my personal and historical background.'' [ABSTRACT FROM PUBLISHER]

The article reviews the exhibition "International Geographic," at Artists Space in Soho, New York City.

Profiles Tony Goldman, one of the pioneers who created New York's Soho with a series of projects that in the 1970's helped turn the down-at-the-heels manufacturing district into an artists' mecca. Recent development in a Miami neighborhood called Wynwood, which doesn't even appear on many maps; Description of the Wynwood properties as warehouse buildings occupied by shoe wholesalers; Mr. Goldman's belief that Wynwood will become the city's next arts district.

Describes the lingering effects of the decades-old New York City plan to upgrade SoHo and NoHo from decaying manufacturing areas and to legitimize the lofts there into working and living quarters for artists. How the area is now sophisticated and costly as of 2003, and artists have often gone elsewhere to less costly establishments; How the regulation that people who live there must be certified artists has lingered, though rarely enforced; Whether or not the regulation should still be in existence.

Focuses on social life in the art community in the SoHo, or south of Houston, neighborhood of Manhattan in New York City. Lack of advertisement for such art galleries as the Rivington Arms; Reasons why artists, art dealers and businesses are attracted to this neighborhood; Description of the neighborhood.

Comments on the transfer of the locus of New York city's downtown art gallery community from SoHo to Chelsea. Rachel Whiteread's sculpture `Water Tower' as a memorial to the departing art scene; Discussion of the sculpture; Overview of the art scene in SoHo; Comparison of the virtual invisibility of the Whiteread sculpture to the invisibility of SoHo's history.