Two leading Seattle galleries, Traver Gallery and Greg Kucera Gallery, have announced the launch of a new art fair called Assembly, running July 23–26, 2025. The event is intended as an alternative to the larger Seattle Art Fair (SAF), which this year marks its 10th anniversary. Although Assembly’s founders, Sarah Traver (Traver Gallery was founded in 1979 and specializes in glass art) and Kim Clifford (Greg Kucera Gallery was founded in 1991 and focuses on contemporary painting), were rivals for decades, they teamed up in the 2020s to create a more curated and less commercialized platform. Their partnership has become a symbolic bridge between different artistic directions. Organizers emphasize that Assembly is conceived as a more intimate and selective event offering collectors and the public a different format for engaging with art.
Assembly’s scale is considerably smaller: about 10 galleries from Portland and Seattle, plus one from Dallas, have confirmed so far. The total number of participants is expected to reach 15, roughly a quarter of SAF, which typically features around 70 galleries, including those from Japan and France. Some galleries, such as studio e, J. Rinehart Gallery and AMcE Creative Arts, have decided to participate in both fairs.
The main difference at Assembly is the rejection of traditional booth setups. Instead, galleries will occupy vacant spaces around a central atrium in the West Canal Yards complex — a former industrial area in south Seattle near Lake Washington. Its spacious warehouse rooms and open sites are ideal for temporary exhibitions, and the location away from the downtown core allows artists to create large-scale installations without restriction. The district’s industrial aesthetic, evocative of the creative transformation of abandoned spaces, recently became home to Traver Gallery. That approach, Sarah Traver says, creates conditions for “real discoveries and deeper immersion,” and also substantially lowers costs: the basic participation fee ranges from $3,000 to $6,500, whereas at SAF it can exceed $25,000.
The decision to launch a new fair was largely driven by the economic difficulties facing so-called “mid-tier” galleries — those selling works priced from $10,000 to $400,000. In 2024, political and economic uncertainty led collectors to cut spending, and participation in expensive fairs stopped being financially viable. Assembly offers a more affordable format: after covering catering and security costs, organizers will distribute ticket and contribution revenue among participants.
Assembly is an invitation-only fair: galleries do not apply but are invited by organizers. At the same time, public access is open — anyone can buy reasonably priced tickets, and no one is obligated to make purchases. However, on the first evening, Wednesday, a private VIP event for collectors and museum curators will be held, intended to regain the interest of a sophisticated audience that in recent years has been disappointed by SAF’s visual overload.
Seattle Art Fair director Kelly Freeman greeted the new initiative warmly, saying that “Seattle’s art ecosystem becomes stronger when there are multiple platforms for engagement.” SAF continues to shape its program, confirming participation from noted galleries such as Roq La Rue, Harris Harvey, Winston Wächter Fine Art and Woodside/Braseth, alongside international players.
July has become a traditional month for art events in Seattle thanks to warm, sunny weather — a rarity for the city — which draws tourists and collectors and coincides with summer vacations. In addition to SAF, the month hosts Out of Sight — an outdoor contemporary art fair in the Georgetown neighborhood — as well as independent gallery shows. Georgetown, a historic industrial area with low rents and large buildings, has attracted artists and galleries since the 1990s. Today it is home to more than 20 galleries, including leading ones like Traver and Greg Kucera, making it the “heart” of Seattle’s independent art scene, where new trends form and connections between artists and collectors are maintained.
Some galleries, such as Georgetown’s studio e, see advantages in participating in both fairs. “Each fair gives access to its own unique audience of collectors and institutions,” says gallery owner Dawn Holloway. “Expanding our presence lets us connect with an even broader public.” Judith Rinehart of J. Rinehart Gallery adds that Assembly offers the opportunity to “exercise curatorial flexibility” in more expansive space, which has become more accessible for a small gallery.
Assembly’s founders, Traver and Clifford, insist they do not view the new fair as a competitor to SAF. “We don’t want to take anything away from it,” Traver emphasizes. “The goal is to complement the cultural landscape and give the city another reason to dive into art.” Clifford adds: “‘The more, the better’ — this is simply another option for rich weekends.” Ultimately, residents and visitors to Seattle will have a choice in July between the giant fair and a more intimate exhibition, which should only strengthen the city’s status as an art center of the Pacific Northwest.
Based on: Seattle galleries launch Seattle Art Fair alternative