ICA San Francisco Transitions to a Nomadic Model

The Institute of Contemporary Art San Francisco (ICA SF) has undergone a significant transformation since its inception during the COVID-19 pandemic. Founded by Ali Gass, the institution aimed to provide artists with a flexible space to explore new ideas and respond to urgent global issues. Gass, who has a background in traditional museum settings, recognized early on that the high cost of rent in San Francisco's Dogpatch neighborhood limited the institution's potential. This realization prompted a shift in focus from maintaining a permanent location to prioritizing artistic projects and community engagement.

New York Observer

In 2024, ICA SF moved to a larger venue, The Cube, located at 345 Montgomery Street in the Financial District, through a rent-free agreement with Vornado Realty Trust. Although the space had been vacant for nearly a decade and required significant infrastructure improvements, it allowed ICA SF to expand its exhibition and public program capacity. However, the limitations of The Cube led Gass and her team to reconsider their operational model. By late 2025, ICA SF began transitioning to a nomadic model, activating exhibitions in various architecturally and historically significant sites across San Francisco.

New York Observer

One of the first initiatives under this new model is the exhibition at the Transamerica Pyramid, featuring Tara Donovan's reflective sculptures and a participatory installation by Lily Kwong. Donovan's work, composed of recycled materials, engages with the building's architecture and light, while Kwong's project invites community participation in creating a living ecosystem. This approach not only showcases contemporary art but also fosters public awareness and environmental responsibility.

New York Observer

Gass emphasizes the potential for public art in San Francisco, noting the city's lack of infrastructure compared to cities like New York. She believes that the nomadic model allows ICA SF to serve as a vital connector between artists and the community, facilitating innovative collaborations. Upcoming projects include a two-person exhibition featuring ceramicist Heidi Lau, who is exploring robotics in her work, highlighting the intersection of art and technology.

New York Observer

Under the nomadic model, ICA SF has reduced institutional overhead, focusing on project-based fundraising rather than the costs associated with maintaining a permanent building. Gass acknowledges the challenges of ensuring financial viability while pursuing ambitious public art initiatives. However, she sees a strong enthusiasm for this approach, rooted in San Francisco's history of innovation and risk-taking.

New York Observer

Gass describes ICA SF as a contemporary art laboratory, emphasizing its commitment to experimentation in both artistic practice and institutional infrastructure. This evolving model positions ICA SF as a dynamic player in the city's cultural landscape, dedicated to fostering artistic exploration and community engagement.

New York Observer

• “There was a real necessity to pull in artistic voices fast and give them the space to realize projects that could speak directly to the moment, but also for institutions to be able to take a left turn quickly when needed.” — Ali Gass, Director of ICA SF

New York Observer

• “There is so much potential for meaningful public art in this city, and that’s where we see a real opportunity to contribute.” — Ali Gass, Director of ICA SF

New York Observer

• “That was the founding ethos: always under construction, nimble, experimental. While many institutions use that language, what we’ve come to understand is that our experimentation is as much about institutional infrastructure as it is about artistic practice.” — Ali Gass, Director of ICA SF

New York Observer