D'Amelio Terras was founded in 1996 by co-owners Christopher D'Amelio and Lucien Terras. The gallery, located on the ground floor of 525 West 22nd Street, is one of the original galleries to have pioneered the contemporary art district of West Chelsea. ChristopherD'Amelio, a New York City native, started his career with PaceWildenstein. Lucien Terras, raised in Paris, France, spent two years at the Fondation Cartier before joining Galerie Yvon Lambert. From 1992 to 1996, both Mr. D'Amelio and Mr. Terras worked at the Paula Cooper Gallery in New York.
The gallery's core mission is the long-term commitment to the careers of a select group of innovative international contemporary artists. D'Amelio Terras shows Adam Adach, Massimo Bartolini, Erica Baum, Delia Brown, Case Calkins, Tony Feher, Roland Flexner, Amy Globus, Joanne Greenbaum, Matt Keegan, Kim Krans, John Morris, Rei Naito, Cornelia Parker, Noguchi Rika, Dario Robleto, Heather Rowe, Sam Samore, Karin Sander, Noah Sheldon, Yoshihiro Suda, Sara VanDerBeek
Concurrently, D'Amelio Terras handles the resale of museum quality works by contemporary masters from the 1960s to the present. The focus of secondary market activity is on artists such as Carl Andre, Donald Judd, Dan Flavin, Robert Mangold, as well as the younger generation of artists they influenced such as Robert Gober and Felix Gonzalez-Torres. In addition to the above artists, the gallery has placed significant works by Yayoi Kusama, Shirin Neshat, Gerhard Richter, Andres Serrano and Andy Warhol in important public and private collections. The owners' fourteen years of art world experience make D'Amelio Terras able to source and procure major post-war works for resale.
Each year, D'Amelio Terras has devoted its January exhibition to a historical examination of specific periods of post-war art. These gallery-curated shows provide the Chelsea viewing public first-hand exposure to seminal works and simultaneously present a context for the gallery's represented artists. Exhibitions of this nature would not be possible without the support of loans from public institutions such as The Andy Warhol Museum, The Whitney Museum of American Art, The Museum of Modern Art, and The Addison Gallery of American Art.