Beauty and the Big Shots

The Sexcapades and Politics Behind New York’s Bogus Catholic Museum

Operating up to then from Cox's eastside apartment—which financial statements indicate was paid for by ASF—the museum finally found office space at Olympic Towers in the spring of 1994. According to Parker, Cox started dating Xenophon Galinas, manager of the Towers, "around the same time as he decided to give us the space pro bono." Single and living in the Towers, Galinas, who joined the museum board, was a frequent visitor to its 6000-square-foot, two-room office on the 12th floor, and Cox was a periodic visitor at his apartment.

"She said she slept in his apartment," Parker recalls. "She forgot her earrings there once. She dated him for a few months." He even made a pitch for Parker, she says, aggravating Cox, who then convinced Galinas to set Parker up with a friend of his. Galinas, who asked if Voice questions about his ties to Cox were "a joke" and hung up, rented ground-floor space to the organization in 1995 for the first museum store, located across the street from Saint Patrick's.

When Galinas later married someone else, Parker and Cox went to the wedding. Cox came with her new friend, Eddie Malloy. By then, says Parker, "the word was out that we were with everyone" associated with the museum, identifying two other board members who dated Cox and will go unnamed in this story. Parker says she and Cox seemed so available that a prominent and single lawyer, Jim Hallisey, who represented Catholic Charities and was an active member of the museum's board, suddenly suggested taking the two of them to a French villa, "popping the question out of the blue." Having never dated either, Hallisey, who is now dead, actually showed them drawings of the villa, pinpointing where he, two of his friends, Parker, and Cox would stay. "We declined," says Parker, and Hallisey soon left the board.

Miss Liberty: National Museum of Catholic Art director Christina Cox
photo: courtesy of Angela Marmo
Miss Liberty: National Museum of Catholic Art director Christina Cox

The turning point for the museum, however, was the night in 1994 when Parker and Cox met Eddie Malloy. The 66-year-old father of two and grandfather of seven, Malloy was at an all-male dinner of the Friendly Sons of Ireland at the Sheraton Hotel, an event Parker and Cox had decided to visit in hopes of meeting museum patrons. "We went to the bar in the hotel," says Parker. "We were either wearing business suits or long gowns. We timed it so we knew when they'd be coming down. They outnumbered us about 400 to 2. We noticed that this one guy was the center of attention in the bar conversation. We were brought into their circle and started talking about the museum. We talked for a couple of hours and went home. We felt like it was a successful night."

Cox then started calling Malloy and finally Parker fielded a return call. "I kept giving her the high sign. I said 'Do something with him.' I was thrilled," says Parker. The organization was so broke by then that Cox was facing eviction from her museum-subsidized apartment, moving in that summer with Parker and bringing her son. Working and living together, Parker witnessed firsthand the evolution of Malloy's relationship with Cox.

"It took off pretty quickly," Parker recalls. "He would pick her up at the apartment around dinnertime at least twice a week. They would talk constantly. I can't remember her exact words, but it was clear they were intimate."

That September—three or four months after Cox moved in—she got her East 56th Street apartment. Parker, who wrote Malloy a letter this January alleging that Cox secured the $23,094-a-year apartment "under your patronage," says that Cox couldn't even pay a share of her phone bill at the time. While Parker recalls that Malloy helped Cox find the $3990 down payment, $1495 of which was paid in cash, Malloy denies it.

Malloy concedes that a year later he "asked the Rudin Organization" to give Cox another apartment—larger and fancier—at 300 East 57th Street. She lived for more than three years in the apartment that Malloy had secured from a major developer who does business with his union. Just as with the 56th Street rental, the lease for the Rudin apartment was in the museum's name, according to Malloy. He says art "was stored there," contending that the museum paid only half the $3100 monthly rent.

However, the organization's financial statements for that period list no art assets and take no depreciation. Every museum source who has talked to the Voice says the organization has very little art. While the Voice was unable to obtain the 57th Street lease, the one for 56th Street specified in its first sentence that the apartment "must only be used as a primary residence."

Within four months of meeting Cox, Malloy was the first name on the museum's four-page invitee list for a July 1994 fundraiser. He was one of three honorees at its September gala at the Hilton. That fall, he personally put together the first application for a charter for the museum, dumping ASF as the vehicle and seek

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