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

Friends Indeed Gallery
Carl Cheng

In celebration of Asian Pacific American Heritage Month, Friends Indeed presents selected works by Carl Cheng. Carl Cheng (b. 1942, San Francisco, CA) is one of the first Asian-American artists to establish themselves in Southern California in the post war period. His expanded art objects—”nature machines,” “specimen viewers,” and “art tools”—were made under the auspices of his corporate DBA John Doe Co., and are intended to “model nature, its processes and effects for a future environment that may be completely made by humans.”

Cheng’s interactive objects—many of which were made in his outdoor “nature laboratory”—use viewer participation and systems art to question corporate responsibility, individual freedom, and the effects on the natural environment of a growing mass-consumer material culture. Throughout five plus decades of practice, Cheng has addressed environmental change, being a member of a generation who watched not only the rapid growth of Los Angeles, but also the rapid growth of Asian cities, where he traveled extensively.

Natural Museum of Modern Art, 1979
Coin-operated console, two canopied windows, sand table
Bread vitrine: 19 x 48.5 x 3.25 inches
Coin-operated console: 39.75 x 48.25 inches
Overall: 144 x 240 inches
Inquire for Price

Liquid/Solid Series: Solid – liquid No. A3, 1980-81
Glue, paint, framed
8 5/8 x 11 3/4 x 1 5/8 inches


Organic Visualizer/Assembler, 1970
Acrylic plastic, wood, steel frame, LED lighting, florescent UV light fixtures, motor, electrical switches, meters, radios, organic material, and an assortment of human-made specimen objects
48 x 117 x 40 inches


Alternative TV #3, 1974
Plastic chassis, acrylic water tank, air pump, LED lighting and controller, electrical cord, aquarium hardware, conglomerated rocks, plastic plant(s)
14 1/2 x 11 1/2 x 8 inches