Exactly one year ago, on a crisp October evening, a few hundred people gathered on a sidewalk along Grand Street in Manhattan’s Chinatown. They were there to watch a lively performance by violinist Adrian Jusdanis of the band New Thousand. While Jusdanis was captivating, he was just the opening act for the main event: the return of Beverly’s, a beloved artist-run bar that first opened in 2012. Its original location at 21 Essex Street had closed during the pandemic in 2020. Though there had been pop-ups and traveling shows since then, finding a permanent home had been a challenge.
When Beverly’s finally settled into 297 Grand Street, founder Leah Dixon wanted to celebrate—naturally. But she also knew there would be some sadness: for the old space, for how much New York had changed since COVID, and for the difficult journey to reopening. Dixon, who is also a sculptor, imagined everyone waiting together at the entrance, sharing the feeling of being kept outside. “No one gets to just walk right in,” she explains. She had spent months preparing the physical space, but added, “It’s not Beverly’s until everyone comes inside.”
To understand why so many people would wait outside for an hour in 48-degree weather for a bar that doesn’t advertise, has no celebrity connections, serves no fancy cocktails or food, and lacks major financial backing, you need to appreciate the network Beverly’s has built in the art world. Since it opened over a decade ago, Beverly’s has featured the work of around 300 artists, including Michael Assiff, Zachary Fabri, Emily Weiner, Edward Salas, Carlos Rosales-Silva, and Azikiwe Mohammed. It has provided jobs that help artists fund their work, served as a place where friendships and relationships form, and even where collectors and dealers make deals. The Beverly’s team has organized exhibitions in Puerto Rico, Miami, and Mexico City, where they’ve taken part in the Material Art Fair for the past ten years. The bar hosts everything from zine fairs to late-night DJ sets and political gatherings. It’s like a modern-day Cheers for the downtown art crowd, driven by a DIY spirit and a lot of determination.
“I feel like Beverly’s itself is an experimental artwork that has evolved and lasted over a decade in New York City, supporting generations of artists through its various forms,” says independent curator Anne-Laure Lemaitre.
Carlos Rosales-Silva, who has shown his paintings with Beverly’s and is helping grow its new nonprofit, adds, “It’s a space where anything is possible. Everything happens through pure love and passion, which for many of us is the only option.”
Beverly’s appeal isn’t limited to emerging artists. Jo Shane, a 70-year-old multidisciplinary artist who has been part of the New York City art scene for 50 years, calls it a “safe haven.” She first visited the Essex Street location in 2015. “Beverly’s was a place that respected cutting-edge work but existed outside the gallery system with its own identity,” she says. “At the time, I would’ve done anything to show there.” (She did exhibit her installation work at Beverly’s in 2018, with both arms still attached.)
Now, one year into running the new permanent space, Dixon is reflecting. Can they recreate the magic of Essex Street on Grand, especially when the neighborhood, the art world, and culture as a whole have changed so much?Eah Dixon, artist and founder of Beverly’s.
Photo: Danny Baez
The story of Beverly’s is deeply tied to its neighborhood. Dixon moved to New York City from Ohio in 2004—”Literally, I took my last final and got in a car”—and her first Manhattan apartment was at 21 Essex Street. That connection helped her secure the lease for Beverly’s in 2012, since she already knew the landlord. Back in the early 2000s, the Lower East Side looked nothing like today’s Dimes Square. “169 was there, but that’s about it,” Dixon remembers. She began working at Welcome to the Johnsons, a dive bar with a 1970s basement theme on Rivington Street that’s still around, and soon became manager. When the owner opened Sweet Paradise Lounge on Orchard Street, Dixon moved there in early 2007. The spot was cozy, dance-friendly, with low ceilings and $3 beers, attracting a crowd of young artists like herself. “Anyone who went there can see that DNA in Beverly’s,” she says. But as gentrification set in, the building housing Sweet Paradise was bought by the owners of The Fat Radish, a rustic-chic British restaurant across the street.
When Sweet Paradise closed in 2010, it sparked a new idea for Dixon. She realized that showcasing art in a nightlife setting would give her and fellow artists more visibility. She pitched the concept to Chris Herity, a Sweet Paradise regular who worked at a nearby coffee bar that was also shutting down. He agreed to join.
Working with a tight budget, Dixon knew they needed an inside track to secure a lease. Luckily, her former landlord at 21 Essex rented them a small ground-floor space. The renovations were nearly finished when Hurricane Sandy struck in late 2012, causing delays and bureaucratic hold-ups. After four months, they finally opened in February 2013.
Justin Wilson moved from California to New York for a design job at American Eagle shortly after Beverly’s opened. Not knowing anyone in the city, he was drawn to the bar’s distinctive purplish-pink glow. “You could just tell this place looked cool from the outside,” he says. With ’80s soul music playing, he struck up a conversation with the bartender and quickly became a regular. He’s now a partner with Dixon in the new location at 297 Grand Street.
“There were so many moments at Beverly’s that were cathartic,” Wilson recalls, like the night of Trump’s first presidential win: “It went from a party to a funeral.”
Events at the original Beverly’s—whether DJ sets, birthday parties, or art openings—drew skaters, fashion enthusiasts, and artists alike. “People would just show up because it was the local watering hole,” says Edward Salas, a sculpture artist who started bartending there in 2016 and now handles bookings for the new space.
But in 2020, the Essex Street location fell victim to the pandemic, like many small businesses. With slim margins and unable to operate at full capacity, they announced its closure on July 1.
Beverly’s then found a temporary home at 5 Eldridge Street in Chinatown from 2021 to 2023. After fundraising for the lease and extensive renovations, they hosted speakeasy-style events on Friday nights. For $20, guests enjoyed punch and immersive, stunning art exhibitions, Dixon explains.
The first time Lemait…The curator, Re, visited Beverly’s at the Eldridge location and was immediately struck by the ease of community involvement. “That really interested me because, as a curator, I’ve often found art spaces to be closed-minded about how the public engages with experimental work,” she says. “Without the stigma of an art space, something magical happens in how people connect with the art.”
While it felt great to bring people together again, Dixon knew the Eldridge space wasn’t permanent and began searching for a more lasting location. She wanted a spot on a commercial street to avoid noise complaints and far enough from Dimes Square, where the atmosphere has shifted toward reservations at natural wine bars rather than casual beer-and-shot combos.
The Grand Street location fit the bill, but signing a 10-year lease was just the beginning. “To get a new liquor license, you have to spend weekends standing on the corner, asking people to sign petitions and write letters to show community support,” Dixon explains. “In the neighborhood where I’ve lived for 21 years, where Beverly’s is located and where I create my art, it blends with Chinatown. It’s crucial to reach out to everyone in the community. This time, for 297 Grand, the response was overwhelmingly positive—people were thrilled Beverly’s was returning.”
However, Beverly’s is reopening in a changed era. Gen Z is reportedly drinking less, and nightlife often revolves around fleeting events requiring RSVPs on platforms like Partiful. “A 10-year lease is much more challenging than a three-day pop-up,” says Wilson, the new partner. But he and Dixon believe there’s still value in establishing roots and building a sustainable model.
So far, it’s working. “It still serves artists and the art world,” says Salas. A key part of this is Dixon’s curatorial vision. “She gives people a chance before they’re vetted by anyone.” Many artists she’s supported have gone on to exhibit in prestigious galleries and museums.
This month, marking the one-year anniversary, an exhibition titled “Nanna” is on view at Beverly’s, featuring video, ceramic, painting, photography, and textile works by artists Mollie McKinley, Stina Puotinen, and Alex Schmidt. Recent events include Supper Social, a casual soiree for the emerging art world organized by independent curator Lauren Hirshfield, and a “big sandwich” collaboration with Regina’s Grocery, where a six-foot-long sub was served beneath a painted replica.
More events, parties, and art shows are planned. Beverly’s will be at the Untitled Art Fair in Miami in December and back at Material in Mexico City next February. In the spring, for their 13th anniversary, they’ll host a large fundraiser offsite. Dixon herself has several shows scheduled for 2026, including at New York galleries Trotter and Sholer and Underdonk.
“I often think about how important social spaces are during times of upheaval, when things are falling apart,” Dixon says. “I moved near the Twin Towers in the early 2000s.” She saw how having a place to gather made living in a frenetic city like New York sustainable. That’s why opening a new physical space for Beverly’s was so important to her—people need a place to go.
“It truly has changed my life as an artist in New York,” says Carlos Rosales-Silva, a longtime member of the Beverly’s community. “And I think it really is just about being in community with this space.”It’s a lovely group of weirdos.
Frequently Asked Questions
Of course Here is a list of helpful FAQs about the comeback of How Beverlys the art worlds beloved DIY bar
General Beginner Questions
1 What is How Beverlys
Its a legendary nofrills DIY bar in New York City that was a beloved hangout for artists musicians and creatives known for its cheap drinks and eclectic communityfocused atmosphere
2 I heard it closed Why did it shut down in the first place
It closed primarily due to the financial pressures of the COVID19 pandemic like many other small independent venues
3 Is it really back Where is it located now
Yes it has officially reopened Its now located at 135 Broadway in Bushwick Brooklyn after its original location in Ridgewood closed
4 What does DIY bar even mean
It means the space has a handson grassroots vibe Its often artistrun with a focus on community over polish Think eclectic decor a jukebox and an unpretentious welcoming feel
The Comeback Changes
5 How did How Beverlys manage to make a comeback
The comeback was driven by strong community support including successful fundraising efforts and a partnership with the team behind the nearby bar The Broadway
6 Did the community help save it
Absolutely The community played a huge role through vocal support on social media and by contributing to fundraising campaigns that demonstrated there was still a strong demand for the bar
7 Is the new location different from the old one
The spirit is the same but the new space is larger and has some new features like a kitchen for food popups The core vibebeing a casual creative hubremains intact
8 Is it still cashonly
No this is a key update for the comeback The new location accepts both cash and credit cards making it more convenient for everyone
Visiting Experience
9 Whats the vibe like now that its reopened
Regulars say it still feels like the same old How Beverlysa welcoming unpretentious spot where you can easily strike up a conversation with a stranger Its maintained its soul
10 What kind of events do they have
They host a variety of events true to their DIY roots