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Tuesday Live.
Some weeks it's a guest. Some weeks it's just me. A working hour, on the record, every Tuesday.
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Conversations from inside the contemporary art market — on the record, every week. Artists. Curators. Gallerists. Collectors. The work, the money, the rooms.
On Black joy, refusal, and the careers built on saying it out loud.
Three drops, every week. One Tuesday Live. One thesis or episode. And when the field moves, a take.
Some weeks it's a guest. Some weeks it's just me. A working hour, on the record, every Tuesday.
When the field moves enough to warrant a quick note — short, sharp, with the receipts.
Long-form pieces, thesis videos on the market, and how-tos for artists and collectors navigating the room.
A short list of people who've sat for a Dear Glory conversation. The full guest list lives on About.
Top three by view count this season. The takes the field is actually circulating — not what we wish it were watching.
The on-location field report that broke wide on the channel — a working read on what the Black-owned booths were doing inside the fair.
Part two of the channel's most-watched thesis series — a working read on who's moved the field and what the work is doing now.
A long-form working session on collecting as long-game capital — what belongs in the plan and what doesn't.
The cleanest way in. One long-form conversation, one take on artists in the field, one piece of market analysis — together, they tell you exactly what this channel does.
Why this oneAn artist and his long-time curator on Black joy, refusal, and the careers built on saying it out loud. The most-watched conversation on the channel.
Why this one99% of artists aren't ready for the "big rooms." If you want to know how this show actually talks to artists about the field, start here.
Why this oneA working analysis of how a contemporary painter's market is built — what the price is doing, who's buying, and why it holds. This is what this channel does for the work.
Filter by what you want. Each video opens in its playlist so you can keep watching.
The longer-form Dear Glory note that lands every week — new episodes, breaking news the channel didn’t post, what I’m reading, and what the field is telling me. Stay in the know. No spam, no overlap with what’s already on YouTube.
Dear Glory is independent media. Our partners are the brands, institutions, and venues whose work belongs in the same room as the conversations we put on the record.
Derrick Adams is a New York-based interdisciplinary artist whose work centers Black leisure, Black domestic life, and the texture of joy as a political position. He's known for the Floaters series, his collaborations with major museums, and a sustained practice that has been moving the conversation about representation forward for over a decade.
He sat with Moriah for one of the conversations Dear Glory has been most proud to put on the record, alongside Dexter Wimberly. They talked about the art world, Black joy, and building on your own terms, a conversation about what it means to keep your practice yours when everyone else wants a piece of it.
Lex Marie is a DC-based painter whose work draws on Black childhood, memory, and the everyday objects that carry weight across generations. Howard MFA, exhibitions across the country, a body of work that lands quietly and stays with you.
On Dear Glory, the conversation was about the work that doesn't ask for permission, what it means to make paintings about your own people, on your own terms, for as long as it takes for the audience to catch up.
Ayesha Selden is a writer, real-estate investor, and one of the most direct voices in the Black wealth-building conversation. Her book and her ongoing public work focus on how ordinary income becomes durable wealth, not the influencer version of that question but the spreadsheets-and-discipline version.
On Dear Glory, the conversation extended that frame to art as part of a serious portfolio: when collecting belongs in the wealth plan, when it doesn't, and how to think about it honestly.
Dexter Wimberly is one of the most prolific independent curators working today. Over 50 exhibitions across the US and abroad, a long-running practice of championing artists at exactly the moment their careers need a curator who actually shows up, and an educational platform that's taught thousands of artists how the field actually works.
His Dear Glory conversation, in conversation with Derrick Adams, walked through what curators actually do, what they can move that gallerists can't, and the long-game patience it takes to build a career inside the institutional system. It's one of the most-watched episodes on the channel.
Larry Ossei-Mensah is the curator behind some of the most pointed institutional shows of the last decade. Co-founder of ARTNOIR, a global community of color in the arts, he operates at the intersection of curating, advocacy, and the unglamorous infrastructure work that makes careers move.
His Dear Glory conversation became the basis for one of our most-shared Glory Edit articles, a piece about what it means to move careers without ever signing the check.
Tanya Weddemire runs one of the working Brooklyn galleries that has been quietly building a roster of Black contemporary artists at the exact career stage where their next opportunity matters most. Her program is precise. Her artists move.
She came back to Dear Glory with specifics about what sold at her booth at EXPO Chicago 2026, on the record, when most galleries declined to share. That openness was the seed of a larger Dear Glory conversation about fair transparency, and why making sales public actually builds the market instead of cooling it.
Richard Beavers has been running his Brooklyn gallery for the better part of two decades, with a focus on Black contemporary artists and a program that has consistently championed working painters whose careers benefit from the long view a real gallerist provides.
His Dear Glory conversation was about the gallery business beyond the headlines, what it actually takes to operate a working program over years, how relationships with collectors compound, and where the next generation of artist representation needs to go.
Dr. Joy Simmons is one of the most respected collectors of Black contemporary art in the country. Her LA-based collection has been quietly shaping where Black painters land institutionally for decades. She is the kind of collector whose acquisition list other collectors watch, whose loans museums request, and whose long view on the field is treated as something to listen to.
On Dear Glory, the conversation was about what a serious collection actually looks like up close: how it gets built, what discipline it requires, and the difference between collecting as wealth and collecting as life.
Lester Marks has been collecting contemporary art in Houston for over three decades. His collection, and the discipline behind it, is part of why Houston now reads as a serious art city to the rest of the country. He has been buying work, lending to institutions, and sustaining artist careers since before the city's name was in the press releases.
On Dear Glory, the conversation walked through the long game: a working theory of how a city becomes an art capital, and the unglamorous, consistent, decade-over-decade work it takes to make that happen.