In 2002 the gallery moved to Saint-Louis island, adopted the new name of Galerie Jean-Luc & Takako Richard as well as a new exhibition program that was more focused on new painting. The gallery mostly organized solo shows with new artists such as Kiyoshi Nakagami, Yek, Paul Henry Ramirez, Carl Fudge, Adam Ross,  Hervé Heuzé, Beverly Fishman, Alice Stepanek & Steven Maslin, Scott Anderson, Yuichi Higashionna, Shirley Kaneda, Tim Bavington.

In 2006 the gallery moved to its current location in the Marais and doubled its space in 2007 with a 400 square meter exhibition space. In 2007 the gallery joined the Professional Committee of Art Galleries. The gallery exhibited emerging artists such as David Ryan, Sven-Ole Frahm, and more established ones such as Bram Bogart, Ron Gorchov, Frank Stella, Judy Pfaff, Alain Kirili, Linda Besemer, Joseph Nechvatal.  In the exhibition The Incomplete – Paris in 2010, the gallery introduced 28 artists collected by Hubert Neumann.

In 2011 they opened a second gallery in Chelsea in New York The gallery name was changed in Galerie Richard. In 2012 they presented a Takesada Matsutani’s retrospective exhibition in Paris and in 2013 a double show in New York and Paris. In 2014 they organized an itinerary exhibition John M Armleder – Jean Carzou in New York, Paris, and Miami at Untitled. The gallery has developed a digital photography program with Dionisio González, Li Wei, Lauren Marsolier, Olaf Rauh and Yang Yi. In 2015 Galerie Richard sold a major work by Matsutani to The Centre Georges Pompidou. In 2015 they moved to Lower East Side. Jeremy Thomas joined both galleries, and Scott Anderson came back to the Parisian gallery. In 2018 the gallery was pleased to represent Koen Delaere, Sebastian Ludwig, Eduardo Portillo, Dennis Hollingsworth and Kim Young-Hun. In 2019 the gallery is representing Gustavo Prado, Rainer Gross. In 2021 the gallery is representing Rémy Hysbergue, Chris Finley, Joeggu Hossmann.

The first important aspect to the style of Hoenerloh is his adherence to the qualities of photo-realism. By painting images of buildings in this style, he is able to comment on the real life symbols that architecture represents for our society. For man, architecture is often an indication of status, a mark of his achievements in life. However, in these barren, photo-realistic city-scapes, the viewer is made to see the humor in this idea of architecture as a status symbol. The wear and tear that his buildings show also give the viewer a sense of how long they have been around. Along with the age of the buildingings comes a dignity from the notion that they have been around much longer than we have and will continue to outlast us after we are gone. This idea further reinforces how small we are in the grand scheme of the world.

Perhaps even more important than the photo-realism is the fact that these spaces come from the imagination of the artist. His imagination gives these spaces a ghost-like luminosity and an impression that they were once inhabited by humans and are now just the remnants of a society that is long gone.The combination of these two aspects are the very core of post-modernism. These unidentified, meticulously detailed areas speak of what can be to come of us and therefore have a personal and haunting effect on every viewer.

Stefan Hoenerloh shows a developed civilization now in ruins and virtually no longer in existance. Through this process, he makes us aware of the arrogance of man and the side effects of wanting too much, while providing a way to be masters of our own destiny.

Born in 1960 in Karlsruhe, Stefan Hoenerloh has had exhibitions in both Europe and the United States. Last year he participated in the London Art Fair and in Art Madrid. He also had two solo exhibitions in Milan and Karlsruhe.