Max's Kansas City was a nightclub and restaurant at 213 Park Avenue South in New York City. Opened by Mickey Ruskin in 1965, the original incarnation of Max's Kansas City closed in 1974, but was quickly reopened in 1975 under the ownership of Tommy Dean Mills until 1981.
- Venue
- Max's Kansas City
- Town
- New York, US
Max's Kansas City was a nightclub and restaurant at 213 Park Avenue South in New York City. Opened by Mickey Ruskin in 1965, the original incarnation of Max's Kansas City closed in 1974, but was quickly reopened in 1975 under the ownership of Tommy Dean Mills until 1981. Max's Kansas City was a gathering spot for musicians, poets, artists, and politicians in the 1960s and 1970s. The space embodied the fusion of art, fashion, and rock culture that defined the era and is often remembered as one of the most influential venues in shaping New York's underground cultural scene. In the early 1960s, restaurateur Mickey Ruskin operated several establishments in New York City, gaining a following. In 1965, a space became available at 213 Park Avenue South, between 17th and 18th Street in Union Square. It had originally been opened as a pharmacy by an older owner, who soon realized the location was better suited for a restaurant. The owner converted it into The Southern, later sold it, and eventually had to take it back after the new owner went bankrupt. By then, he was tired of running the place, so Ruskin acquired it with almost no money down and a long-term, affordable lease. He transformed it into Max's Kansas City, which opened later that year. The grand opening on December 6, 1965, drew a modest crowd of eight, which included artists Larry Zox, John Chamberlain, Neal Williams, Donald Judd, Dan Flavin, and Frank Stella. However, Max's soon became a hangout of choice for artists and sculptors from the Park Place Gallery and the Green Gallery. Max's had three main areas: Bar, Back Room, and Upstairs. Max's became a favorite spot for Andy Warhol and his "superstars," who dominated the back room that was lit by Dan Flavin's red light installation. His presence attracted hip celebrities and the jet set, helping to cement its allure within the fashion and art worlds. Warhol had a standing arrangement with Ruskin-he traded artwork for credit-so his entourage could simply sign fo