Cultural Counsel

Cultural Counsel

Cultural Counsel is a New York-based consultancy focused on communications, strategic partnerships, and the development of public programming in the worlds of contemporary art, design, and architecture.


Through our valued relationships with artists, writers, curators, patrons, and creative professionals, we facilitate significant contributions to the cultural dialogue.


Communications is at the core of Cultural Counsel, but our vision is to catalyze something greater. The firm’s understanding of these specialized fields, as well as the worlds of fashion, hospitality, and real-estate development, allows us to promote projects to the public with a refined sense of context, and to facilitate seamless collaborations among an international clientele.


Established by Adam Abdalla in 2015.



Client List


Aljira, a Center for Contemporary Art

Anthony Meier Fine Arts
Aspen Skiing Company
Creative Time
Culture Lab Detroit
Dallas Art Fair
Davis Museum at Wellesley College

Day for Night

Doug Aitken Workshop

Empty Gallery

GARAGE Magazine
Garage Museum of Contemporary Art

Headington Companies


LUMA Foundation

Magnolia Pictures

Mark Flood

Marlborough Contemporary

Museum of Contemporary Art Detroit

Nahmad Contemporary

New Art Dealers Alliance (NADA)
Night Gallery
Pérez Art Museum Miami

Prospect New Orleans
Red Bull Arts New York

Salad for President


Seattle Art Fair
Skarstedt Gallery

The Joule

The Underline
United States Artists

United Talent Agency

Whitney Museum of American Art

Garage Triennial


This March, Garage Museum of Contemporary Art is proud to present the Garage Triennial of Contemporary Art, the first recurring exhibition and research project dedicated to Russian art. The inaugural edition, on view March 10–May 14, 2017, features work made in the last five years by artists from across Russia. Garage Chief Curator Kate Fowle will lead a curatorial team comprising Garage curators Katya Inozemtseva, Snejana Krasteva, Andrey Misiano, and Sasha Obukhova. The resulting exhibition showcases the best of Russian contemporary art made from 2012–2016, including established and lesser–known artists, some of whom are being shown in Moscow for the first time. A concurrent exhibition of primary material sourced from Garage Archive provides a historical counterpart to the Triennial.


In focusing solely on artists living and working within the Russian Federation, the Triennial explores the immensely complicated notion of national and cultural identity. The borders of the largest country on earth encompass those living in megacities and in small towns, on the shores of the Black Sea or on the Pacific coast, in Siberia or the Caucasus. Russia’s geographic range is matched only by its cultural variety, manifesting a delicate yet resilient national identity; even though an artist belongs to one of 200 nationalities that inhabit the Russian Federation, speaking one of the 100 languages registered within the territory, they still exist within Russian culture. The 2017 Garage Triennial is the first time this vast artistic landscape has been surveyed and presented to the public.




artnet News — Moscow’s First-Ever Garage Triennial Casts a Floodlight on Russia’s Elusive Art Scene


The Washington Post — In the Russian hinterland, a search for the nation’s best contemporary art


Artforum — Scene & Herd: Rainbow Connection


New York Post — Art elite heads to Dasha Zhukova’s exhibition in Russia

Elevation 1049: Avalanche


This February, Elevation 1049 returned to Gstaad, Switzerland with AVALANCHE, a site-specific exhibition, curated by Neville Wakefield and Olympia Scarry in partnership with the LUMA Foundation, on view through March 19, 2017.


Inspired by the eponymous 1970s art magazine of the same name — penned by Robert Smithson and many other post minimalist masters — the project features an international program of sculpture, performance, video and sound installations. Included in the presentation are Sarah Morris's Monarch, a 54-meter-long train clothed in her signature colors and geometric graphics and Douglas Gordon & Morgane Tschiember's As close as you can for as long as it lasts, a ring born from fire, smoke, and sound that obliquely references the history of yodeling, among others.


Participating artists include: Allora & Calzadilla, Cecilia Bengolea, Michaël Borremans, Douglas Gordon & Morgane Tschiember, Yngve Holen, Ryoji Ikeda, Sarah Morris, Thomas Schütte, Superflex, Tatiana Trouvé & Grace Hall, and Nicole Wermers. 



The Financial Times — Avalanche — a bold new show of public art in Gstaad

artnet News — When Art Is Subjected to the Elements in Gstaad


Artforum — Nicolas Trembley at Elevation 1049 in Gstaad


Interview Magazine — Art with Altitude

Day For Night

Day For Night 2016

Curated by artist Alex Czetwertynski, the Day For Night exhibition program is a unique platform for artists to push the boundaries of their practice and create new sensory experiences for festival goers. Similar to the music line-up, which includes headliners Aphex Twins and the more underground Ariel Pink and Mykki Blanco, Day For Night presents an international group of emerging and established artists.

“Our intention is to bring together talents that fearlessly cross over multiple fields and blur the lines between media. From our more established artists, such as UVA and Bjork digital, who are both presenting works never seen before in the US, to our youngest artist, the twenty-year-old Ezra Miller, we want our audience to experience art at a scale that is almost impossible to see elsewhere, and in a grouping that would be hard to pull off in more traditional environments,” says Czetwertynski.

2016 Day For Night participating artists: AV&C + Houze, Children of the Light, Alex Czetwertynski, Björk, Damien Echols, Ezra Miller, Golan Levin, Michael Fullman, NONOTAK, Robert Seidel, Shoplifter, TUNDRA, United Visual Artists (UVA), and Various Projects.

artnet News — Four Questions for Day for Night Festival’s Visual Art Curator, Alex Czetwertynski

The Guardian — Sensory overload: how immersive art took top billing at music festivals

The Wall Street Journal — A Festival’s New Approach

W Magazine — At Houston's Day For Night, Festival Season Is Literally Still Lit

Bjarne Melgaard

Bjarne Melgaard: The Casual Pleasure of Disappointment

Red Bull Arts New York is pleased to present the U.S. debut of Bjarne Melgaard's The Casual Pleasure of Disappointment, an unrelenting multi-site, multi-night, ongoing ‘fashion’ project.


Centered around Red Bull Arts New York, which Melgaard and company have transformed into a multilevel psycho-pathological department store that opened to the public on February 16, Gavin Brown’s enterprise functions as an off-site jewelry department – hosting the American launch of his collaboration with jeweler Bjørg Nordli-Mathisen (BJØRG).


Produced in collaboration with creative director Babak Radboy, the exhibition features a presentation of the eponymous menswear/unisex clothing line, The Casual Pleasure of Disappointment, which violently embraces the obsessive and self-destructive aspects of fashion and consumerism. Returning the space to its previous life as the site of the Barneys Co-op, Red Bull Arts New York has been transformed into a derelict department store populated by an army of genetically enhanced mannequins in bespoke looks produced in collaboration with stylist Avena Gallagher.



T Magazine — This Artist Just Gave Away Half a Million Dollars in Clothes


GQ — New York Fashion Week's Rowdiest Event Wasn't Even a Fashion Show


W Magazine — Artist Bjarne Melgaard Just Disrupted New York Fashion Week By Giving Away "I Hate Rihanna" T-Shirts at His Dystopic, Dyspeptic "Department Store"


Women's Wear Daily — Norwegian Artist Bjarne Melgaard’s Solution for ‘Banal and Tired’ Retail Industry


Time Out — Bjarne Melgaard talks about repurposing his old clothes as high art


Nowness — Say Goodbye to Love

ART-LESS at the Davis


From Thursday, February 16, through Tuesday, February 21, the Davis Museum at Wellesley College demonstrated the critical role that immigrants to the United States have played in the arts, both in their creative contributions as well as their stewardship of the visual arts, with an initiative called, Art-Less.


In support of the Association of Art Museum Directors’ statement on President Trump’s recent executive order, the Museum de-installed or shrouded all works of art in its permanent collections galleries that were either created by or given to Wellesley’s art collection by immigrants to the United States. This means approximately 120 works of art—roughly 20 percent of the objects on view in the Museum’s permanent collections galleries—were either taken down or covered in black cloth.


Art-Less demonstrates in stark and indisputable terms the impact of immigration on our collections,” said Lisa Fischman, the Ruth Gordon Shapiro ’37 Director of the Davis, “and we proudly take the opportunity to signal that impact, to honor the gifts of creativity and generosity that make the Davis Museum and the Wellesley community great.”



ARTnews — Protesting Trump, Wellesley’s Davis Museum Will Remove From View Works Made or Donated by Immigrants to the United States


The Financial Times — Davis Museum takes a stand on Trump’s travel ban


The Guardian — Art created by immigrants removed in travel ban protest – in pictures


The Huffington Post — To Protest Trump’s Travel Ban, Museum Temporarily Removes All Work By Immigrant Artists


Forbes — Taking A Stand Against Trump, The Davis Museum Covers Works Of Art By Immigrants


Congolese Plantation Art Workers League

SculptureCenter is pleased to announce the first exhibition of the Cercle d'Art des Travailleurs de Plantation Congolaise (Congolese Plantation Workers Art League or CATPC) in the United States.


The artists that comprise the CATPC are plantation workers who harvest raw material for international companies. The members of this community create sculptures that are first molded in clay, and then 3D printed and cast in cacao — the raw material at the heart of the $100-billion chocolate industry which stretches from the Congolese plantations to grocery stores and restaurants around the world, and which implicates the unknowing consumer in the exploitation which runs throughout the lives of these impoverished people.


Working with the Institute for Human Activities (founded by Dutch artist Renzo Martens) these artists have organized a micro-economy based on creating and selling art—reinvesting the profits in new, self-owned, and regulated agricultural production. Profits additionally support the plantation workers and their families.



The New York Times — Cacao Statues at the SculptureCenter


The New York Times — Chocolate Sculpture, With a Bitter Taste of Colonialism


Artsy — Congolese Plantation Workers Are Making a Living Selling Chocolate Sculptures to the Art World


VICE / Creators — Chocolate and Capitalism Face Off in a New Sculpture Exhibit


artnet News — How Artist Renzo Martens Aims to Funnel Western Capital Back to the Plantation