It is a chilly, bright Tuesday afternoon in Pioneer Square as I walk down the cobblestone street. Most days, it's quiet here. This is one of them.
I'm on my way to the newly opened Occidental Arts Center, but upon arrival, I wince. It's hard not to feel the loss of Davidson Galleries, which inhabited the building from the early seventies until a devastating fire in 2024 pushed them down the street to Yesler. I can't begin to fathom the heartache created by a single match. For most of us, belongings can easily be replaced. Works by Picasso and Rembrandt? Never.
Despite the disaster, owner Sam Davidson forged onward until he announced his retirement last summer.
Just two doors down from the former Davidson Galleries location in Occidental Square—just to the right of where I am standing now — stands the former home of Fredrick Holmes & Co. Its closure marked another retirement-induced loss for the neighborhood. Fredrick Holmes had arrived on the scene back in 2013 and quickly established itself as a destination for modern contemporary art and "hot jazz." The frequently hosted live music performances were always a big draw, adding to the spirit of the neighborhood.
The loss of two well-known and much-respected galleries is difficult to comprehend. Yet, Pioneer Square has a long history of weathering such challenges.
The neighborhood is the oldest in the city. The original business district was once the bustling, vibrant heart of Seattle. The fact that it continues to be a beloved destination for tourists and residents alike is living proof that it has more lives than a damn cat. Seattle's founding families settled here in 1852. Forty years later, they rebuilt following the Great Seattle Fire in 1889. Most of the Pioneer Square buildings left standing today owe their survival to the choice of materials, replacing wooden structures with stone and brick.
By the time Smith Tower, the area’s once-tallest building, opened in 1914, the neighborhood was floundering. Seattle had moved north in the wake of the fire, establishing a new downtown area.
In the roaring '20s, Pioneer Square was in sharp decline. Residents referred to it as "skid row," which paved the way for the neighborhood's salty reputation to take hold. By the 1930s, Pioneer Square had become a place to avoid for Seattle's respectable residents. For the disenfranchised, the neighborhood was home. Nightclubs and bars catering to gay men popped up everywhere. Soon, Seattle's first lesbian establishment joined the mix.
Outsiders called it "Fairyville." But for the LGBT community, it was an oasis despite the frequent police raids.
In the 1960s, The Gallery (now known as Foster/White Gallery) opened its doors, ushering in a new transformation. By the '70s, most of the gay nightlife scene had migrated to Capitol Hill, and new galleries began to pepper Occidental Square, largely thanks to the effort and success of Richard White. Soon, the streets were adorned with streetlights and potted plants. Pioneer Square was suddenly a destination for a burgeoning arts scene.
Davidson Galleries was among the businesses that helped the neighborhood gain widespread respect, and Sam Davidson was among the leaders who launched First Thursdays—America's original and longest-running art walk. Since then, Pioneer Square has continued to attract attention outside of the art world, most notably in the '90s as Seattle’s premier music destination. While the music scene never displaced the popularity of the art galleries, it did take its toll following several violent incidents. Rival gangs attempted to take control, police raids escalated, and by the early 2000s, the music scene had largely moved on.
It was a difficult time for galleries. However, a succession of sports arena openings to the south soon followed. The surge of fans helped sustain local eateries and bars, while galleries continued to attract visitors during First Thursday. In 2015, Paul Allen introduced the first Seattle Art Fair, which continues to draw tens of thousands of collectors and art-curious patrons to the neighborhood each year, offering local galleries a new sales platform.
Fast-forward to today, when First Thursdays have experienced a massive resurgence. Social media, a vibrant night market, and a new generation of visitors have propelled Pioneer Square's art walk growth.
This would never have been possible if the gallery scene had vanished over the years. Instead, while not all galleries take part in First Thursdays, the neighborhood continues to dominate Seattle's gallery scene. Cornerstones include Foster/White Gallery, now celebrating 60 years, Stonington Gallery, and Greg Kucera Gallery. Long-established destinations such as ArtX Contemporary, G. Gibson Gallery, Gallery 110, Method Gallery, Axis Gallery, Soil, Platform Gallery, Shift Gallery, James Harris Gallery, Glasshouse Studio, Grover/Thurston Gallery, Core Gallery, 84 Yesler, Gallery Erato, and Taswira Gallery remain major attractions.
In recent years, Forest for the Trees has shaken things up with provocative exhibits and ongoing public art projects, such as TreeFall. And the City of Seattle’s Office of Arts & Culture, taking root in King Street Station, proved a ringing endorsement to the neighborhood’s legacy.
I can't name every gallery contributing to Pioneer Square's success today, but the surge of happenings this year—including the expansion of Gallery B612, the all-new Actualize Space, and the grand opening of Gallery NW—illustrates just how important art is to the neighborhood and vice versa.
Which brings me back to two galleries. No longer Davidson Galleries nor Frederick Holmes & Co., I’d like to introduce you to Occidental Gallery and Gallery No. 85—both of whom share the distinction of carrying on the traditions of well-respected leaders in their field while taking unconventional paths forward.
+++
Elizabeth Hawley’s arrival on the scene felt quietly seismic. At 27, she brings an unexpected wisdom sharpened by auction-house experience, a legal career helping families navigate estates, and entrepreneurial roots nurtured by her family. She moved to Seattle in July 2024 and, within three weeks, had made her first purchase from Davidson Galleries. A year later, she learned of the owner’s retirement, and it took roughly six months to work out the details. In the span of three weeks, she renovated and opened the doors of Gallery No. 85—while juggling the duties of her attorney position at a local law firm. She laughed at how crazy it sounds and was quick to credit her very capable fiancé, without whom it “would never have happened.”
Gallery No. 85 is not a resurrection of Davidson’s legacy, but a continuation in spirit. Hawley focuses on bridging Pioneer Square’s artistic heritage to the next generation of collectors.
“I felt there was a loss of connection,” she told me. “Somebody has to take on the work. This is my chance to shrink the education gap around printmaking and make it accessible.” Prints, works on paper, lithographs, and woodcuts are more than objects to buy—they are conversation starters, intergenerational connectors, and invitations into the art world.
Her path follows a mosaic of influences. Working in auction houses while in school exposed her to the human side of collecting, including families saying goodbye to treasured works. That empathy informs both her legal career and her curatorial choices. Entrepreneurship, embedded in her upbringing, manifests in a gallery that balances thoughtful curation, accessibility, and the logistics of running a business—all within the rare pockets of time she can dedicate outside her law practice.
Sam Davidson offered his endorsement, and several former staff members remained on board, ensuring continuity. The inaugural exhibition, From Here, Anywhere, honors both past and future, featuring artists formerly represented by Davidson.
+++
The transition from the closing of Fredrick Holmes Gallery to the opening of Occidental Gallery was seamless.
John and Denise Avendaño, partners in life and in running the gallery, have taken on a similar responsibility: preserving Fredrick Holmes’ standards while creating their own identity. They had the advantage of being actively involved in the gallery’s day-to-day operations right up until Holmes’ retirement. [ Note: John, a respected local artist, is also a reader-suggested featured artist in this issue].
Avendaño credits Fredrick Holmes with pushing him to expand his practice to meet the owner’s expectations. At first, his requests for a solo show were repeatedly denied. “Instead of giving up or giving in, I realized the change needs to be from me! I already worked in series, so I increased both the quality and quantity of each series to create larger bodies of work,” explains John. After four long years, he was finally granted a solo show in 2022, followed by annual solo shows in 2023, 2024, and 2025.
This experience proved invaluable when it came time to running the gallery alongside his wife, Denise.
+++
The first thing I noticed upon meeting the couple was their effortless rapport. Their love is obvious without being over-the-top. They finish one another’s sentences, confess to watching the Amber Heard–Johnny Depp trial while laid up with COVID, and it’s clear Denise is proud of her husband’s success.
The couple met later in life—right here in Pioneer Square—under circumstances that feel almost cinematic. Denise was working at another gallery; John, a working artist, walked in on a dare from friends meant to introduce him to the “stern” owner. The owner wasn’t there, but Denise was. Their conversation stretched long enough that John’s friends outside wondered what was taking so long. That chance encounter blossomed into a lasting partnership, and years later, into Occidental Gallery, a space rooted in community, service, and high standards.
While Holmes took much of the unsold inventory with him, he helped them retain many artists. The gallery honors Holmes’ legacy by maintaining rigorous curation while embracing accessibility and engagement. Visitors meet artists one-on-one, browse exhibitions with guidance, and contribute to a gallery journal tracking questions, volunteering, and classes—a living testament to the community’s involvement.
One unique difference is that Occidental Gallery operates as a nonprofit, in conjunction with the Conru Art Foundation. Both John and Denise serve as gallerists.
“Our lives are based on service. Rooted by family values, we wish to pass this attribute onto our children and seven grandchildren,” explains Denise. “Early on in our relationship, our goals were in line. Opportunities naturally presented themselves. From our time at Olympic National Park, to teaching at Kirkland Art Center, to extending our time to Fredrick Holmes Gallery, we are service-oriented. We’ve been told we’re an awesome couple, and it is rewarding to be so fortunate... and to love hard work!”
“The opportunity and timing have been perfect,” John adds. “The transition of the gallery with the previous owner was seamless, and the level of professionalism has been refreshing and well-received.”
As an added bonus, the couple connects collectors directly to artists, with a portion of proceeds donated to charity.
When asked what they have found most rewarding, John emphasizes being present, welcoming visitors, and fostering dialogue. Denise points to the gallery’s consistent presence during First Thursday Art Walks.
+++
Both Occidental and Gallery No. 85 enthusiastically participate in these monthly gatherings and have closed sales on works of art during them, demonstrating that accessibility and approachability can coexist with market success.
Both galleries reflect a commitment to nurturing a generational shift among buyers. First Thursday now draws younger patrons, students, and emerging collectors eager for understanding as much as acquisition. It presents a growing opportunity to educate and engage a new generation of collectors.
The energy in Pioneer Square is contagious. Elizabeth, John, and Denise are part of a long tradition in the neighborhood: individuals stepping in to carry forward a legacy while leaving their own mark. From post-fire rebuilding to the skid-row years, from nightlife booms to gallery-led revival, Pioneer Square has survived, adapted, reinvented, and persisted with community commitment. These new galleries show that legacy is living, evolving, and dependent on those willing to nurture it.
I look forward to seeing the doors wide open at Gallery No. 85 and Occidental Gallery on the upcoming First Thursday, with visitors circulating, lingering over artwork, asking questions, snapping photos, and engaging directly with artists. All kinds of people converging in the shared experience of art.
Some things never change. Pioneer Square continues to hum with vitality. The old galleries may be gone, but their spirit—care, curiosity, and connection—is in good hands.
