Last year, as Sean Kelly prepared to move to his spectacular new 2,000sqm space in Hudson Yards, The New York Times reported his take on being the first gallery in the neighbourhood as: ‘How can you go wrong with a Dunkin’ Donuts across the street?’ Complete with soaring library and dedicated black-box performance space – a potent symbol of the gallery’s commitment to live and durational art – Kelly has had no trouble luring the art crowd, with a mixed programme of theory-rich group shows and starry solos from a tight, museum-friendly list recently joined by crowdpleasing techno faerie Mariko Mori. 

Offsite, Kelly’s crew has been busy charming wealthy hipsters (via Net-a-Porter collaborations from Terence Koh and Marina Abramović), metropolitan grandees (the 2013 Praemium Imperiale Prize in Sculpture for Antony Gormley) and even children (Leandro Erlich’s Dalston House, 2013). Who needs doughnuts?