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

Hosfelt Gallery
Rina Banerjee

Rina Banerjee, who was born in Kolkata, India and lives in New York, works with a cosmopolitan eclecticism that reflects both her transnational background and her sophisticated understanding of the narrative power of objects. She assembles rapturous sculptures that are mystifyingly shamanistic, yet overflowing with connotation. Conjoining rarities with cheap, mass-produced bric-a-brac, she appropriates extravagantly while rejecting hierarchies of material, culture and value.

In Banerjee’s paintings and delicate drawings on paper, female figures float in chimerical landscapes, often in states of transformation or with hybrid features of birds and beasts. Her titles are long, free-form refrains that immerse the viewer in the physical and emotional space of the work, heightening its quasi-mystical magnetism.

In a 2011 feature in Artforum, Banerjee describes the foundations of her work:

My mother told me that my first name is special because it is not typical in India—it is spelled differently. Hence, I was free to be what I wanted, so I presumed. Growing up abroad was a strange experience in the 1960s; there were so few Indians in the West. My parents saw themselves as international citizens. Maybe they imagined a future that we are just beginning to glimpse. I dream of this willingness to close the gaps between cultures, communities, and places. I think of identity as inherently foreign; of heritage as something that leaks away from the concept of home—as when one migrates. Even my interest in science embodies an awareness of other worlds, worlds that coexist with us, but which we cannot experience or know. The sky, the stars, and the earth contain so much more than we think.

Freedom is the most expensive commodity; nature the most dangerous beauty. My work examines both. My art depicts a delicate world that is also aggressive, tangled, manipulated, fragile, and very, very dense.

unlike “Two peas in a pod,” peanuts or golden droplets, like matrimonial dangers, a mixed bag on her lap, aloha to horizons which can be wide open, she met she, was sweetened and she was wakened and gregarious often articulate but quiet, how nice to see daughter go go and be growing fizzy in her bubbles, 2021
Acrylic on paper
16 x 12 inches
Lady of Commerce. Hers is a transparent beauty, her eager sounds, her infinite and clamorous land and river, ocean and island, earth and sky…all contained, bottled for delivery to an open hole, a commerce so large her arms stretched wide and her sulfurous halo, 2012
Wood figurine, vintage glass bottles, chandelier ornaments, birdcage, steel, wood pedestal, lace, cowry shells, taxidermy deer paws, Indian marriage jewelry, ostrich eggshells, porcelain doll hands, silver leaf, gold leaf, wire, linen cord, and marble baby doll hands
Diameter: 48 inches
Standing trial by man and the family of Man denied she wore the hardest but turtle shells on her mossy back heels dug on hers alone a golden island with foaming waters at edge, exhausted by humanity his fears of others, mothers, girls and boys that could pass mustard, 2019
Acrylic and gold leaf on wood panel
20 x 16 inches
In transplant of people battle of all things grew funny and fickle until new things could be gotten and old things forgotten, 2013
Ink and acrylic and collage on paper
30 x 44 inches