Eight bridges connect the San Francisco Bay, so it is an apt name for a gallery platform that brings the Bay Area art world together.

Our mission is to maintain a vibrant gallery scene, despite restrictions on travel, celebrations and other larger gatherings. We want to support our artists by informing and entertaining curators, collectors and critics with potent online exhibitions of their work.

On the first Thursday of every month, we will launch 8 shows of artists relevant to the Bay Area. They may be working in this place, long considered an epicenter of change, or deeply engaged in the conversations the Bay Area holds dear, whether it’s related to technology, the environment, social justice or sexual identity, to name a few. In addition, each month will highlight the crucial work of a Bay Area non-profit arts organization as its beneficiary, with an initial donation led by Phillips.

Founding Committee

Claudia Altman-Siegel, Kelly Huang, Sophia Kinell, Micki Meng, Daphne Palmer, Chris Perez, Sarah Wendell Sherrill, Jessica Silverman, and Elizabeth Sullivan

Ambassador Committee

Sayre Batton & Maja Thomas, Joachim & Nancy Bechtle, Matt Bernstein, Sabrina Buell, Wayee Chu & Ethan Beard, Natasha Boas, Douglas Durkin, Carla Emil, Matt & Jessica Farron, Lauren Ford, Ali Gass, Stanlee Gatti, Brook Hartzell & Tad Freese, Pamela & David Hornik, Katie & Matt Paige, Putter Pence, Becca Prowda & Daniel Lurie, Deborah Rappaport, Komal Shah & Gaurav Garg, Laura Sweeney, The Battery, Robin Wright, Sonya Yu & Zack Lara


Lobus, Phillips, The Space Program

Amalia Pica

Our latest Art Drop is Amalia Pica’s Joy in Paperwork #317-319.

Joy in Paperwork #317-319 consists of a suite of 3 drawings — part of an owning series by the same name. All made using office rubber stamps, like those found in postal or immigration services, these quirky, playful works poke fun at bureaucracy and the monotony of administrative tasks. Pica has restricted her palette to the three ink colors most commonly used in official paperwork–black, red and blue–and with that, achieves a vast array of recognizable images that verge on abstraction including cacti, sunbeams, pylons, earthworms, the river Thames. A closer look at each reveals a network of stamp markings which read, in various languages, “paid,” “private,” “confidential,” “received,” “cancelled,” along other official directives.

Given the repetition and tangle of stamps, one can imagine an office worker driven to distraction by piles of paperwork. This joyful installation also speaks of a bygone era, before digitalisation, when letters and documents were rubber stamped by hand.

Courtesy the artist and Instituto de Visión.

Curated by 8-bridges from EXPO CHGO ONLINE.

Amalia Pica
Joy in Paperwork #317-319, 2016
Papel A4 y tinta de sello / A4 paper and stamp ink
30 x 21 cm (each)