By themselves, Faye's efforts would not succeed, but over her five years as Hirsch director she has developed loyal supporters who want her and her gallery to succeed. And then, there's her father, a successful architect whose protective streak at times seems overwhelming. Those who want to protect Faye's interests include her clever friend and neighbor Norman; his precocious niece Lily; her favorite cab driver; a homeless artist turned grant writer; a punk-rocking intern named Zoe; and Anouk, the Dutch woman whom Faye had earlier persuaded to allow several Van Gogh artifacts to come from Amsterdam to Albany.
Brognano's novel asks: what exactly are Faye's best interests? How does a thoughtful and artistic young woman balance the needs of a gallery and its community against her own need for independence and growth?
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