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For the accomplished 11 years, Free Richardson has run The Compound, his artistic announcement business, from a bunched amplitude off Bruckner Boulevard in the South Bronx, breadth he works on campaigns for Timberland, ESPN and EA Sports. Allotment agency, allotment clubhouse, The Compound refers to the concrete footprint, a bunkerlike amplitude breadth Mr. Richardson hosts clients, able athletes and hip-hop artists who appear to use its recording booth, admonition or adore Mr. Richardson’s accumulating of KAWS figurines, hip-hop ephemera and N.B.A. memorabilia.

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But the name additionally signifies Mr. Richardson’s administering ethos: that accumulation artistic disciplines usually yields article interesting.

“Everyone who would appear over would say, ‘Yo, this is like your own art museum,’” Mr. Richardson said. “So I said, O.K. It was consistently in the aback of my arch but it was like, aback is the time appropriate to do it?”

The time became appropriate this summer, aback the absolute acreage advance aggregation Somerset Partners offered Mr. Richardson a charter on a stout, single-story white brick amplitude at the bottom of the Third Avenue Bridge in Mott Haven.

Mr. Richardson, who was built-in in the Bronx and grew up amid Queens and Philadelphia, congenital it out in a amount of weeks into a able white cube gallery, additionally alleged The Compound.

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With it, Mr. Richardson aims to actual what he perceives as assertive imbalances in the arcade system. His ambition is to present artists from marginalized backgrounds and highlight mediums accustomed abbreviate shrift by dejected dent galleries. He additionally hopes to restore ambience to art forms he sees as accepting been exploited, like graffiti. “I feel like what I’m accomplishing is altered from the accustomed arcade format,” he said. “No galleries, to me, accept accustomed hip-hop to be a allotment of their DNA.”

He estimates about about 600 bodies abounding the aperture accession in September, a amount which was best acceptable stered by the account that his accomplice in the arcade is Yasiin Bey — the rapper and activist aforetime accepted as Mos Def.

Mr. Bey, a Brooklyn built-in whose abandoned projects and collaborative assignment with Talib Kweli as Black Brilliant fabricated him a admired amount amid both boilerplate hip-hop admirers and underground aficionados, has in contempo years become one of the genre’s added ambiguous entities. He appear his retirement from music two years ago (it’s been intermittent), and finer expatriated (he was active in South Africa for a time, and now lives in Paris). His retreat from accessible activity — he doesn’t accumulate a cellphone and avoids speaking with media — has, as these things tend to, stoked the attitude about him.

That Mr. Bey would be abiding to New York to advice accessible an art arcade in the South Bronx ability assume unexpected, but he and Mr. Richardson accept been alive calm aback they met over two decades ago, aback Mr. Richardson created the affecting AND1 Mixtape Tour, a bemused blow of artery ball, streetwear and hip-hop that featured aboriginal advance from Mr. Bey, again a contempo Rawkus Records signee.

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“He was the aboriginal actuality at the aboriginal Compound, aback it was actually aloof four walls and a floor,” Mr. Richardson recalled. “I showed him the amplitude and told him my eyes and he said, ‘You gotta do it.’”

Mr. Bey will advice abbey exhibitions and appropriate programming. He already has one appearance to his credit, the gallery’s bendable opening, in August, of assignment by Christina Paik, a columnist who has produced adumbration for Nike and Virgil Abloh’s Off-White band of streetwear.

Mr. Richardson’s and Mr. Bey’s countdown appearance is a analysis of delineation by the columnist Jonathan Mannion, blue-blooded “I Got a Gallery.” “I Got a Show.” Mr. Mannion has been article of hip-hop’s abode columnist aback the ’90s, aback he attempt the awning of Jay-Z’s admission flat album, “Reasonable Doubt,” and his adumbration is advised to be some of the best enduring of the genre.

The anatomy of assignment on appearance (the arcade is accessible circadian by appointment) spans the across of hip-hop’s bunched but abundant history, from Run-DMC, Rakim and Big Daddy Kane, to the LOX, Method Man and Aaliyah, to accepted stars like Drake, Nicki Minaj and Kendrick Lamar. The cartography is appropriate: the Bronx is accepted as the cradle of hip-hop, and the arcade is a abbreviate ride from 1520 Sedgwick Avenue, the accommodation architecture that DJ Kool Herc has referred to as “the Bethlehem of hip-hop culture.”

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Accordingly, the appearance leans against New York’s acquaintance icons: a bifold acknowledgment of Method Man in Polo Sport fabricated in 1997; a wall-size book of the Notorious B.I.G. captivation an admirers in chains in 1995; a barbarous DMX captivation aback a brace of pitbulls from the aforementioned year; a black-and-white Polaroid of Slick Rick captivation a bedazzled chaplet over his damaged eye. The focus is a assertive aeon of New York rap primacy, and the way its bequest continues to vibrate.

An billowing angel of Big Pun, fabricated aloof a few blocks abroad in 1999, his face affected acquiescently through a car sunroof, fills the gallery’s street-facing window. On a contempo visit, Mr. Richardson said a common accessory of Pun, the rapper Fat Joe, a Bronx built-in additionally represented in the show, had aloof chock-full by.

The Compound’s architecture retains the appearance of its accomplished activity as an auto anatomy repair. There are still affluence of operating shops crabbed the surrounding blocks, but they’re actuality aing by newer espresso bars, restaurants and accouterment boutiques. And there are new residential developments and affluence condominiums, too. Somerset Partners had been underway at 2401 Third Avenue, a residential architecture at the above J.L. Mott Iron Works armpit on the Harlem River waterfront, which they awash to Brookfield Properties aftermost month.

Mr. Richardson hinted that the developers had noticed his access with musicians and athletes, and saw an befalling to ster their investment’s cultural bona fides. “Oh yeah, he was watching,” Mr. Richardson said, apropos to Keith Rubenstein, one of Somerset’s founders. Invoking the Nas record, he added, “It ain’t adamantine to tell.”

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Mr. Rubenstein alleged it “a fair accord for everybody,” but beneath to accommodate specifics. “Free and I accept been accompany for a brace of years, and I was absorbed in him creating article altered and exciting,” he said.

Somerset, which is developing added projects in the neighborhood, drew ire in 2015 afterwards it threw a abundant one-night art appearance and affair in a barn that has aback been razed on the 2401 site, and erected a advance that referred to the breadth as “the Piano District.” But Mr. Richardson sees the actual breadth afraid gentrification.

“There’s a aberration amid banishment bodies to move out and disturbing barrio down, and creating article breadth there’s nothing,” he said. “There are businesses aperture up with boyhood owners. To me, that makes it a accomplished altered conversation.”

New York’s arcade arena is centralized in Chelsea, but the South Bronx has its own presence. A few blocks from The Compound is Wallworks, at 39 Bruckner Boulevard, which has apparent assignment from graffiti ancestors Dondi and Futura aback 2014, aback John Matos, the graffiti brilliant accepted as CRASH, helped accessible the place. Bronx Art Amplitude (at 305 East 140th Street) and 6base (728 East 136th Street) are additionally nearby. These spaces accept a antecedent in Fashion Moda, which from the backward ’70s to the aboriginal ’90s functioned in the South Bronx as association amplitude as abundant as gallery, giving aboriginal acceptance to artists like Keith Haring, Jenny Holzer, Kenny Scharf and David Wojnarowicz.

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For his part, Mr. Richardson has said he hopes to acquisition the aing big name to transcend the aals of artery art and accomplished art.

The Compound isn’t necessarily a hip-hop gallery, and that name ability not be carefully tethered to hip-hop. Upcoming shows accommodate abandoned exhibitions of allegorical painting by King Saladeen and assignment by Ron English as able-bodied as a complete accession curated by Mr. Bey. But hip-hop ability tints its worldview.

“The purpose of the arcade is to say all art is equal,” Mr. Richardson said. “But we are in the apple that created hip-hop, which is the better art anatomy in the world, so it’s consistently an extending arm. It’s consistently present.”

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