Interview with Pentimenti
Christine Pfister, gallery director of Pentimenti and Honorary Consul of Switzerland, discusses the ins and outs of running a commercial art gallery in Philadelphia.
Pentimenti exhibits contemporary art in a wide array of mediums by a line of established artists alongside up-and-coming talents. Through curated exhibitions, participation in prominent national and international art fairs, public programs, and outreach initiatives, the gallery cultivates a sense of community. Our program fosters a wide variety of voices, offering a platform for artists whose works challenge conventions and inspire reflection. Over the years, Pentimenti has received critical acclaim from leading art publications such as Hyperallergic, Artnet, Colossal, Whitehot Magazine, and Artsy. The gallery has successfully placed artworks in private and institutional collections, such as the Museum of Modern Art, the RISD Museum, the Cleveland Museum of Art, the San Antonio Museum of Art, and the Pennsylvania Academy of the Fine Arts, among others.
145 North Second Street, Philadelphia, PA 19103
Gallery Hours: Tuesday–Friday 10 a.m.–5 p.m.; Saturday 12–5 p.m. or by appointment.
Space On Space: I saw Pentimenti’s recent project space work, we call the moon the people’s wife, a collaboration with Vox Populi and Aitor Lajarin, the artist currently showing at your gallery. What do you see as the relationship between artist-run spaces and more commercial galleries in Philadelphia?
Christine Pfister: I see the relationship between artist-run spaces and commercial galleries as an important and ongoing dialogue. Both share a common goal: to support artists and the work they create. Artist-run spaces often provide room for experimentation and early visibility, while commercial galleries can help sustain artists over the long term through resources, networks, and broader exposure. Together, we contribute to a vibrant ecosystem in Philadelphia, where different models and approaches strengthen one another and create more opportunities for artists at every stage of their careers.
SOS: How often are you collaborating on projects, or at least, talking with one another?
CP: I always collaborate on projects. This year, Pentimenti was thrilled to collaborate with Vox Populi. It was our first project together and a meaningful moment for us. Building on that momentum, I’m excited to share news about an upcoming partnership with the Museum for Art in Wood. It is a special joint event and talk. Hosted at Pentimenti, this event will shine a spotlight on the work in our solo exhibition by Dan Gunn, featuring insights from Jennifer-Navva Milliken, Executive Director and Chief Curator of the Museum for Art in Wood, on May 28. More events will take place throughout the year.
SOS: I was struck by this quote I found from you, “To me, Philadelphia is not only the most European city in America, but also one of the most honest. Neither the city nor the people try to be anything they are not.” What makes Philadelphia feel like a European city to you?
CP: What makes Philadelphia feel like a European city to me is how walkable and connected it is. You can easily hop from one gallery to another, or from museum to museum, all on foot or by bike. This accessibility isn’t just for visual arts; whether you are interested in theater, opera, ballet, or the orchestra, much of the city’s cultural life is within easy reach without a car.
SO: The Swiss Consulate’s address is literally the gallery’s address—145 North 2nd Street. How does that overlap play out in practice? Do diplomatic visitors become collectors? Do diplomatic events become exhibition opportunities?
CP: I serve as the Honorary Consul of Switzerland, which is a limited-hour, unpaid position. In this role, I help support economic, educational, and cultural ties between Switzerland and Pennsylvania, and I assist Swiss citizens as well as individuals planning to travel to Switzerland.
I generally keep my consular responsibilities separate from my work in the arts, although there are times when the two naturally intersect. The position also gives me access to opportunities that I’m able to share with my networks both here and in Switzerland, supporting individuals, institutions, and museums when appropriate. I’m always eager to foster exchanges that strengthen the cultural relationship between Philadelphia, the Commonwealth of Pennsylvania, and Switzerland.
SOS: There is a sense of stability I feel in your space, despite the overall instability of the art market climate. You were trained as a statistician, then you took a crash course at Christie’s before taking over Pentimenti. How does that background influence your process as a gallerist? And how have you been able to remain in business for over 30 years?
CP: At Pentimenti, I have made it a priority to foster a culture where everyone feels welcome and comfortable engaging in conversations about art. No matter someone’s background or level of experience, curiosity is what truly matters; you can’t grow or discover anything new unless you are willing to try. I hope that spirit of openness creates a sense of warmth and wonder from the moment someone walks through the door.
I actually joined Pentimenti after it was founded, so I wasn’t there from the very beginning. My background in business, as well as my art education both here and in Switzerland, has been incredibly helpful, providing a strong foundation for understanding the mechanics of running a gallery. Of course, the art world is a different ecosystem from what I was familiar with, but that foundation made the transition much smoother. I feel very fortunate for the support of so many Philadelphia collectors, artists, and friends, as well as collectors beyond the city, whose encouragement has allowed Pentimenti’s program to thrive for over 30 years.
SOS: Your roster is around twenty artists. How do you think about the ceiling on that number—is there a point where more artists means less attention, less service? And how do you decide when to bring someone new in versus deepening commitment to someone already on the roster?
