Abstract How has the commercial art gallery, the capitalist art institution par excellence, operated in contexts marked by ‘peripheral’ or ‘transitional’ economic conditions? This article approaches this question through a study of the operations of Istanbul’s first modern art gallery, Gallery Maya, between 1950 and 1955. Drawing on photographic documentation and an extensive archive of Turkish-language primary sources, this article contends that the seemingly contradictory impulses that characterised Gallery Maya’s activities were in fact the hallmark of the ‘semiperipheral art gallery’, an institutional form that simultaneously sought its place in a public sphere and economic order historically dominated by the state, and endeavoured to stand as a private enterprise in a moment of international liberalisation. This hybrid institutional form was neither solely public nor private, and defies standard art historical distinctions such as the gallery versus the salon, artwork versus commodity, and state versus individual.

中文翻译：

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半周边艺术画廊

摘要 商业美术馆，作为卓越的资本主义艺术机构，如何在以“外围”或“过渡”经济条件为标志的环境中运作？本文通过研究伊斯坦布尔第一家现代艺术画廊玛雅画廊在 1950 年至 1955 年间的运营来解决这个问题。本文利用摄影文献和大量土耳其语原始资料档案，认为看似矛盾的冲动玛雅画廊的特色活动实际上是“半外围艺术画廊”的标志，这是一种制度形式，它同时在历史上由国家主导的公共领域和经济秩序中寻求自己的位置，并努力成为一个私人企业。国际自由化。