Since 1977, when, after an early foray into multiples, she opened her New York gallery with a show by Marcel Broodthaers, Goodman has dedicated her considerable energies to promoting exchange between the American and European artworlds. She’s made good on that for four decades since, opening further spaces in Paris in 1995, London in 2014 and yet another project space/bookshop in Paris in 2016. Her rhythms are relatively slow, steady, circumspect; she’s not seeking a foothold in Asia, she’s developing the dream lineup she already has, from Gerhard Richter to Pierre Huyghe, Steve McQueen (subject of a major Tate retrospective next year) to Tacita Dean. In 2019 her galleries bodied forth shows by William Kentridge, John Baldessari, Annette Messager and more, while her most noted London schedule might have been Danh Vo’s ambitious wood workshop using, of course, historically significant wood (from the McNamara family timber company). His gallerist, too, remains a beacon for considered creativity in the present tense.