Founded in Johannesburg by Linda Goodman in 1966, during the most oppressive years of apartheid, Goodman Gallery was a defiant outlier—South Africa’s only gallery where Black artists could exhibit their work. From the start, it positioned itself as a champion of artists tackling social and political issues, playing a critical role in elevating some of the most influential voices to emerge from the continent over the decades.
In a rare and unexpected move, art advisor and curator Liza Essers bought the gallery in 2008. Under her dynamic leadership, what was once a pioneering but locally focused institution has transformed into a global force, with expansions into Cape Town, Johannesburg, London and, most recently, New York. As Goodman Gallery enters its 59th year, Essers reflects on its evolution, its impact on contemporary African art, and its expanding international reach. “When I took over the gallery, it only represented South African artists, so the programme has evolved significantly,” she told Observer. While the gallery has remained deeply committed to work that challenges power structures and explores postcolonial legacies, Essers has broadened its scope to include not only artists from across Africa but also its diaspora and others from the Global South engaged in parallel struggles.
Two major curatorial and ethical frameworks underpin the gallery’s programme. The first, 'South-South', launched in 2015, a few years into Essers’s tenure, while the second, 'In Context', examines the complexities and tensions within specific places. “At that point, the art world was really about separate regions and scenes—the Chinese art market, Brazil, etc.,” she says. “However, art is an international language and a way of connecting the human condition across the globe. So my interest was to focus on social change with a global perspective.” Most recently, she has strengthened the gallery’s commitment to 'Working Title', an initiative dedicated to fostering the next generation of talent from Africa and its diaspora.
