Annie Armstrong: Your gallery showcases a lot of different works—from sculpture and photography to painting—which isn’t always the case. How did this come to be?

Hannah Traore: I have always had a broader interest in different media. Because many galleries are so painting-heavy, even having a few photographers makes people label you as a photography gallery, but I don’t feel like photography dominates my program. That said, I’m very selective with painters; there are few I feel deeply excited about, and many of the ones I admire already have representation. 

Armstrong: How would you define your curatorial approach?

Traore:  It is very intuitive and emotional. Of course, many decisions are also based on theory, research, and discussion, but I really do let my intuition lead. That’s how I live my life as well.

Armstrong: Does this influence your personal style?

Traore: Yes! One common theme in my life is my affinity for color. That’s not to say that all the work in the gallery and all the clothes I wear are colorful, but I do find myself often drawn to well-executed color. It evokes such emotion, and it’s such a special gift to be able to put colors together to elicit an entirely new feeling—not to mention make it all look good. When you are staring at pieces by artists I work with, like a James Perkins silk, or a photograph by Camila Falquez, or a Turiya Adkins painting, you are immediately moved by their use of color—and quite differently by each one. This follows through to everything in life: If you are good at it, you can create emotional sanctuaries in your  living spaces and what you wear. I also love craftsmanship, which is why I have tons of suits from Theory. The tailoring is so chic and flattering. I like to wear a suit a few sizes larger than usual, add a thick belt, and pair it with a sneaker or loafer for work, or a heel for an event. 

Armstrong: What is it about Theory that resonates with you?

Traore: I’ve always appreciated the quality of the fabrics, which makes everything comfortable but professional, or the expertly placed darts that create the perfect fit. These details may be subtle, but they’re the reason Theory pieces become staples in everyone’s wardrobes. It’s similar to how I approach lighting, spacing, framing, or even the tone of the white on the walls. It may not be initially evident in the gallery, but all the little elements are critical to supporting the work. It’s the same with Theory’s attention to detail. 

Armstrong: I’m curious, what values guide the work you do?

Traore:  Community engagement really shapes how I think about exhibitions. When I worked at museums, I saw firsthand how values like education guided the programming; even the way I install shows now is influenced by that experience. I try to envision things as more interactive, more experiential, and more welcoming. 

Armstrong: That makes sense. What were some of your early influences growing up?  

Traore: It may sound cliché, but my biggest influence is my family. Growing up in Toronto and being raised with such a strong sense of my Malian heritage—and living in the same home as many extended family members—was a beautiful thing. It expanded my worldview and also really taught me that being different was a strength. I see that sentiment in everything I do in my life today. 

Armstrong: What inspires you about living and working in New York City?

Traore: The people. Always the people. They are truly themselves. There are few cities in the world where ingenuity and individuality are celebrated in the way that they are in New York. The creativity that exists when people are allowed to be truly free is constantly inspiring.

Armstrong: When you look back at how you got to where you are now, what’s a really great day that stands out? 

Traore: There have been a lot of great days; I’ve been really lucky. But the best ones are when something incredible happens for one of my artists. One specifically that stands out is when MoMA confirmed they were acquiring three works by Camila. This was about three years in, and it was the first real time I saw the fruits of my labor. Everything I had been working toward was starting to materialize. It was also a full-circle moment for me to come back to the museum I interned at. 

Armstrong: So what does a bad day at the gallery look like for you?

Traore: I think there are two kinds of “worst days” at the gallery. One is when something completely out of the blue happens, like a flood, which did happen to me in my first year. We had to redo all the floors. Thankfully, none of the artwork was damaged, but it was still a nightmare. 

Armstrong: What’s the other kind of bad day?

Traore:There’s interpersonal challenges that come with working with artists. Tough conversations are probably the hardest part. For example, if things aren’t working between you and an artist, you have to have a very honest discussion about whether it makes sense to continue working together. Another example of that is when an artist decides they’re not ready for a show and you have a month left to fill the space. The challenge with having a brick-and-mortar gallery is that while it’s amazing to not have to find venues all the time, you always need to have something on view. I try not to panic, but it’s definitely stressful. 

Armstrong:  I’ve always perceived you as a very social person on top of running your own gallery. How do you manage everything?

Traore:  Honestly, I’m much less busy than I was at the beginning. The first two years, I didn’t sleep. I had no assistant, barely any staff, and I went to every event. Now I say “no” more often. But I’m also very extroverted, so I recharge by spending time with friends. Weekends now are for that. If I’m overwhelmed, I make time to see people I care about, and it really resets me. There’s also a big difference between socializing in general and being with people who truly know you. Those relationships are what really sustain me.

Armstrong: What role has mentorship played for you throughout your career? As a mentee but also as a mentor? 

Traore: It’s huge. I have a few formal mentors like Isolde Brielmaier, Kenneth Montague, and Ian Berry, who have guided me in different ways. The biggest thing mentorship has given me is perspective. You realize that even very experienced people deal with the same challenges: You never arrive, you’re always learning. 

Armstrong: That’s comforting. It reframes problems as universal, not personal.

Traore: Exactly. And peers are just as important. With peers, you can ask dumb questions, check your instincts, vent. You need both mentors and equals. And I mentor younger people as well. People can come to me anytime. I really value that. 

Armstrong: What’s the best advice you’ve received in your career, and what would you tell your younger self? 

Traore: One piece of advice came from my sister: “No matter how sweet a peach is, some people still don’t like peaches.” Another came from Camila: “If you weren’t doing anything, you wouldn’t have any problems.” That’s stayed with me. Problems mean you’re active, you’re building something. 

CREDITS

Talent: Hannah Traore

Hair Stylist: Andrita Renee at The Only Agency

Makeup Artist: Whittany Robinson at The Only Agency

Photo Assistant: Daniel Short

Digital Technician: Joshua Mathews

Fashion Assistant: Izaake Zuckerman

Production: The Morrison Group

Special Thanks: Laird and Good Company