Photos by Rita Thompson
On November 6, Gotham unveiled The Smoking Section, its first fully commissioned group exhibition, turning its Chelsea dispensary in New York into a gallery-grade showcase of contemporary craftsmanship and cannabis culture. The free opening invited the public into a space that already carries the aesthetic of a design-forward art gallery. It’s clean, white shelving, sculptural architecture, soft lighting, and an intentional layout elevate every object placed within it.
Elevating an Everyday Object
For its debut curated show, Gotham commissioned more than 40 artists and designers to reinterpret a single familiar object: the ashtray. Long embedded in memory, domestic life, ritual, and personal history, the ashtray carries layers of meaning—practical, nostalgic, symbolic. Here, it becomes a portal into broader conversations about craft, design, and the emotional architecture of smoking rituals.
This conceptual thread is one that Rachel Berks, Gotham’s vice president of product development and partnerships, had been thinking about long before the exhibition took shape.
“Since I’ve been in this role at Gotham—about three years now—I’ve wanted to do an ashtray show,” she said. “As cannabis consumers, we shouldn’t have to make sacrifices for having a well-designed object like an ashtray.”
For Berks, the ashtray operates as both vessel and metaphor. It’s an object with function, weight, and cultural history that designers could push, stretch, or completely reinvent.
Building the Roster
With that vision in mind, Berks began assembling a roster of 44 voices—a process guided by community, collaboration, and creative trust.
“My community is filled with artists and designers. I’m married to an artist, all of our friends are artists,” she said. “Who better to reinterpret the concept of this vessel than a group of artists and designers already working in that space? People who think deeply about materiality, beauty, and the meeting point between form and function.”
Many invitations came from personal connections. Others were suggested by Gotham founder Joanne Wilson, who reached out to artists whose work she collected. Members of the Gothan team invited a few additional contributors.
The final lineup was a collective effort shaped by availability, serendipity, and even a few moments of chaos. Some artists had to bow out due to scheduling conflicts; one artist’s piece exploded in the kiln; another’s ashtray went missing in the mail and arrived after the opening (only to sell immediately).
Perhaps the most unique aspect of the curatorial process was the freedom the team gave artists.
“They would ask if there were limitations, and I said, ‘No,’” Rachel laughed. “That’s why you see ashtrays of all different sizes, all different price points, all different materials.”
She decided not to visit studios or request progress shots. Instead, she waited for each completed piece to arrive as an experience in its own right. “When I was unpacking the ashtrays, it felt like Christmas. I didn’t know what was going to be in each box. Seeing them all come together was one of the most exciting feelings I’ve ever had.”
Material Play and Artistic Range
The exhibition showcases an extensive range of materials, reflecting the artists’ diverse backgrounds and approaches. Glass, ceramics, wood, resin, metal, paper, and mixed media all appear throughout the room, creating a visual rhythm of textures and forms.
Among the many works on display, several stood out for their craft, imagination, or narrative detail.
Sasha de Lotbinière, “algae breath ashtray” (hand-blown and hot-sculpted glass)
De Lotbinière’s glass piece was the first one I saw, and it ended up being my favorite. The soft curves and greens give it a really calm, smoky vibe that stuck with me through the whole show.
Jake Clark, “ashtray” (glazed earthenware)
Clark’s earthenware ashtray was bold and fun. The bright glaze and clean lines gave it an easy, laid-back feel and I loved the swimming-pool nostalgia.
Alma Berrow, “muddling through time” (earthenware with luster details)
Alma Berrow’s piece “Muddling Through Time” looked like someone had captured a real smoke session in clay. Cigarette butts and rolling papers coated in a glossy finish made it feel intimate, a little funny, and very human.
Jennifer Xiao, “Dirty Dishes” (cardboard, paper mâché, paper clay, polymer clay, paint)
Jennifer Xiao’s “Dirty Dishes” turned an ashtray into a tiny, chaotic kitchen scene complete with suds, scraps, and a tiny rat riding in a little boat. Made from paper-based materials, it’s playful, detailed, and impossible to forget.
The Opening Atmosphere
The exhibit had a welcoming, easygoing vibe you don’t always get in Chelsea galleries. Visitors wandered through, chatting about textures, materials, childhood memories of ashtrays.
The space also helped set that tone. Gotham’s Chelsea location feels like a gallery first and a dispensary second, with clean shelving and sleek details that let each ashtray stand out. It was a spot made for lingering, looking closely, and swapping stories.
Behind the Scenes: Success, Emotion, and What Comes Next
For Berks, one of the most meaningful parts of the experience was recognizing that these artworks wouldn’t exist without the invitation. “These works wouldn’t have existed had I not reached out and asked people to make something. That made it feel even more special.”
When asked how she measures the show’s success, she laughed—because success can mean so many things.
“We had an amazing opening with a great turnout. I met many of the artists in person for the first time. The works are incredibly successful; the way they all exist together is successful. Sales have been steady. Media coverage has been great. I feel really proud.”
And the momentum won’t end here.
Gotham is already discussing the next annual object. “We’re talking about pipes… stash boxes… expect this to be an annual event,” she said.
The Smoking Section runs through January 5, 2026 at Gotham Chelsea.
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