Nagas: A Charming Art Gallery and Mini Museum Hybrid

Ilian Rebei, art dealer and founder of Nagas Gallery

By Amanda Wall May 30th, 2026

I met Ilian Rebei, art dealer and founder of Nagas Gallery, at NADA in New York. When I arrived for our interview, I felt like I was entering an intimate, Parisian nineteenth century gallery. Imagine Theo van Gogh, in Montmartre, at Boussod, Valadon & Cie. He served me tea in a pretty porcelain cup from India, while bringing to my attention the Surrealist, Valentine Hugo, in an art book. He then, pulled out his white gloves to show me a Hindu mid 18th century work on paper. An experience usually reserved for museum viewing behind glass, revealed a representation of Nagas, an aquatic deity, embracing Krishna, with a head of many snakes. 

In contrast to some of the great American art dealer biographies, Ilian is an art historian, educated at La Sorbonne, an expert in Surrealism and Modernism, and a collector of twentieth century works. He is currently lending to the exhibition at the Musée du Luxembourg, and has recently sold a work to the Morgan Library & Museum. He is innovative in his approach to functioning as both a mid-tier gallery and research based mini museum. With grace and elegance, a young art dealer has his entire career trajectory ahead of him. He feels dedicated to public education and transparency, très synchronisé with major museums and institutions. 

Currently on view, Cosmogrammes, Louise Janin bridges the American and French yin yang of Nagas. Janin was an American painter and poet who settled in Paris and was influenced by her father’s Asian art collection. Time in Asia, New York and Paris, in addition to her interest in Asian philosophies, transformed her work into non-figurative, abstract  “visions of the universe”. 

 Installation view, Nagas Gallery, 2026

Ilian tracks down works of interest “that participate in the broader discourse” through provenance and research. Through the gallery model, this experiment is both a learning and teaching opportunity. Ilian’s Renaissance approach to art management is appealing to him as well as the risk of taking on something new to the art world.

In a discussion about contemporary art market prices dropping in tandem with twentieth century works emerging at art fairs, like Art Basel Miami, Ilian explains that the draw to historical works is very much about historical relevance and a prestigious provenance. For example, if a painting had belonged to the Peggy Guggenheim collection, the value increases. Surely, these considerations are safer investments for savvy collectors as depreciating Ultra Contemporary sales and collector flipping continue to create volatility for the contemporary market. 

We spoke about young collectors and young gallerists wanting more personal relationships built on trust, with the opportunity to touch, feel and connect with a work of art. There seems to be a resurgence of nostalgic gallery practices focused on community and lasting relationships. Ilian agreed that artists need access to lost and found historical works for their own educational and creative benefit. Not a gatekeeper, he is open to the idea of engagement with higher educational institutions. 

In a prior, less fluid conversation: 

Nagas are Hindu or Buddhist divine, mythical creatures considered guardians of hidden treasures. As a guardian of Modern and Surrealist treasures, do you feel a sense of stewardship and responsibility for historically under-represented 20th century art? What sets you apart from other New York City galleries?

Ilian: The history of Nagas in mythology is indeed very rich. They were guardians of hidden treasures, but also holders of ancient knowledge. Humans would turn to them to gain access to this wisdom and to knowledge that had been lost over time. This is why the gallery bears this name.

As a young dealer, I do feel a sense of responsibility to pass on this knowledge, so that it is not forgotten. Most of the artists we exhibit at the gallery were not unknown during their lifetimes. Louise Janin exhibited at Galerie Bernheim- Jeune, Leonor Fini was one of the major figures of the century, and Vilhelm Bjerke-Petersen was instrumental in the development of Surrealism. Yet many of them were forgotten over time, either in their later years or after their deaths. It is important that these stories continue to be told, that these works continue to be shown, and that these memories remain alive.

What sets us apart from other New York City galleries is our contemporary approach to older forms of art. We are a research-focused gallery presenting museum-quality works, while remaining accessible and deeply committed to our educational role. We are not only selling artworks; we are also telling stories and engaging with the public, whether through exhibitions or through publications.

Through your extensive research of Modern and Surrealist artists, have you discovered new layers of information in addition to your academic research at La Sorbonne? Any interesting, amusing or shocking facts about your artists?

Ilian: I discover new information every day. The early 20th century is so diverse and varied that it is difficult to cover it completely. I am constantly discovering new research papers, new artists, and new artworks. Through reading old letters, I learn a lot about the relationships between certain artists. I also try, as much as possible, to meet people who personally knew the artists. It makes the stories you read feel much more alive. For example, I recently met with Gloria Orenstein, who was one of the first scholars to conduct extensive research on the women of Surrealism. She began with a long correspondence with Leonora Carrington and went on to meet most of the women associated with Surrealism: Leonora Carrington, Leonor Fini, Meret Oppenheim...

There are many “fun” facts about Surrealism. In 1931, Victor Brauner painted Self-Portrait with a Plucked Eye, in which we see his face with an eye missing from its orbit. This motif was frequent in his early work. In 1938, seven years later, he intervened during a fight between the artists Óscar Domínguez and Esteban Francés. He was struck by glass and actually lost his eye as a result. This later led to him being seen as almost prophetic within the Surrealist group.

You began dealing privately in 2019. Within a year, you opened your first gallery in Paris and now you have a gallery in midtown, New York. What is the secret to your expedient momentum?

Ilian: I am a collector myself, so I understand what our clients are looking for. I would not present in the gallery an artwork that I would not want to collect myself, which is also why I have always preferred small gallery spaces. The curation is careful and well thought out.

Our collectors are encouraged by the depth of our research and resources. The transactions are transparent, and we have built a reputation for this. We are experts in our field, and rather than operating as a short-term, profit-driven gallery, we have a long-term vision. We have placed works in collections ranging from young collectors acquiring their first piece to some of the most important collectors worldwide, as well as major museums.

You are a unique art dealer, in that, you are also a curator and art historian. How will you create your own brand in a sea of mid-tier and blue chip galleries?

Ilian: The idea behind Nagas is to provide a true platform for research and rediscovery. I have many projects moving in that direction, all with an educational purpose. We aim to go deeper than most other galleries while maintaining a high level of relevance and quality. I do not know many other young dealers solely dedicated to 20th-century art. The strength of the gallery lies in both the quality of the works we present and the fresh vision of art history.

Leonora Carrington and Leonor Fini are resurrected fascinations: Shape of Dreams at L'Space Gallery, Fini at the Morgan Library & Museum, a retrospective at the Musee du Luxembourg in Paris. Yale University's Book of Secrets exhibition traces the role of alchemy, focused on wealth and spiritual purification, in pop culture. Why do you think alchemy and the occult are resonating in 2026?

Ilian: We live in a time when we all need a bit of magic in our lives! If you look at history, Surrealism emerged out of war. Most of the artists had fought in it and were direct witnesses to its horrors: Andre ́ Breton, Max Ernst, Andre ́ Masson... The movement became a way for them to transform the horrific images of war into art. So, is it really surprising that Surrealism is once again coming back to the forefront today?

Most young gallerists are promoting emerging artists. Can you explain your personal connection to Modernism and Surrealism and your mission to secure relevance?

Ilian: I have always been interested in the history of the interwar period. I like reading about it, looking at the artworks, and constantly discovering more. Having lived in Paris for so long, where Surrealism began, it has been easier to feel a connection to the movement. The city is still marked by the history of this period. Everything feels so close. You can read about the artists and discover that they gathered in your neighborhood cafe ́, the very place where you usually go yourself. For example, I attended Lycée Montaigne, where Yves Tanguy was also a student almost a century earlier. I like the feeling of history: being in a historical place or owning a historical artwork. When I see the knowledge of this period gradually being forgotten, I find it saddening. We still have so much to learn from and admire in history!

I noticed your tribute in 2025, to Peggy Guggenheim's Exhibition of 31 Women. Can you elaborate on your advocacy for female artists?

Ilian: I want to show something new and interesting at the gallery. We do not need another Pablo Picasso exhibition. Some female artists from the period were just as prolific and innovative as Picasso, yet they are still rarely exhibited. I think it is important to restore this balance and to show the breadth and quality of the work that women artists were producing at the time before many of them were erased from history.

New Yorkers love and admire their celebrity art dealers. In a fantasy sit down with Peggy Guggenheim, Leo Castelli, Larry Gagosian, Mary Boone, and David Zwirner, being a new dealer on the block, what would you desire to learn from the American legends?

Ilian: I would have very different questions for the first two and the last three. From the first two, I would love to learn more about their relationships with the Surrealists. Leo Castelli’s first exhibition featured Leonor Fini, Meret Oppenheim, Max Ernst... Peggy Guggenheim was also an early patron of the Surrealists. For the last three, I would be interested in hearing their thoughts on how the New York City art scene has evolved since the beginning of their careers. If I could add a few dealers, I would include Paul Durand-Ruel, Ambroise Vollard, and Berthe Weill.

What are your long term goals for Nagas?

Ilian: The first goal is to solidify the foundation we have built, while strengthening our relationships with museums and existing collectors. I want to continue maintaining a high standard in both the quality of the artworks we present and our exhibitions. Our research always leads to new discoveries, and some exceptional artworks are going to pass by our walls.The second goal is to broaden our educational reach: to make the stories we share more accessible to the general public and to bring greater visibility to our exhibitions. Our publications, and collaborations with institutions will be essential to sharing the narratives. This is central to the project of the gallery. The main objective is for the gallery to become a place where people can learn, discover, and spark something meaningful.