NEW YORK, NY.- Name: Eden Deering

Age: 30

Hometown: New York City

Now Lives: In a one-bedroom apartment in the Williamsburg section of Brooklyn that she shares with her boyfriend, Weston Lowe, who also runs a gallery.

Claim to Fame: Deering is a director at PPOW, a contemporary art gallery in Tribeca that grew out of the 1980s East Village art scene. She curates book-fueled exhibitions that comment on social life. “Everything, for me, starts with reading,” Deering said. “Writers and artists have always been in conversation with each other. Books give me a tool to think about the importance of art.” Her first group exhibition in 2019, “Do You Love Me?,” focused on “the unbalanced power dynamic between those that desire love and those in our culture who have the power to give it,” she said.

Big Break: Deering unofficially began her art world internship at age 8, when her mother, Wendy Olsoff, one of PPOW’s founders, took her to Art Basel in Switzerland, the Venice Biennale in Italy, and various artists’ studios. In 2016, while working as an assistant at Gladstone Gallery, she started a roving art collective, Duplex, with Sydney Fishman. Duplex now has a permanent gallery on Essex Street in lower Manhattan. “All of my friends are artists,” she said. “It is why I am.”

Latest Project: Deering will lead the programming at PPOW’s second downtown gallery, opening later this year a block away. It’s “a space for experimentation,” she said. “We don’t always get to work with the artists that I bring in for group shows.”

Next Thing: PPOW’s summer 2022 exhibition will feature feminist landscape paintings, including works by Carolee Schneemann, women artists in their 20s, as well as some from the 19th century. “Carolee always said she was a painter,” Deering said. “The general culture does not think of her as one.”

Personal Space: Her mother and Penny Pilkington, who co-founded PPOW in 1983, are still involved with the gallery. “I feel very honored to work for such incredible women,” Deering said. She credits the co-founders for their clarity of purpose. “Artists need money and space to work,” she said. “And that’s always been Wendy and Penny’s No. 1 priority.”

This article originally appeared in The New York Times.