{"id":1934086,"date":"2026-05-13T21:25:28","date_gmt":"2026-05-13T18:25:28","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=1934086"},"modified":"2026-05-13T21:25:28","modified_gmt":"2026-05-13T18:25:28","slug":"the-best-booths-at-frieze-new-york-2026","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=1934086","title":{"rendered":"The Best Booths at Frieze New York 2026"},"content":{"rendered":"
\n\tCashing in typically comes before supporting artists at art fairs, and Frieze New York is no different from the rest in that regard. The main priority for dealers is to make money, and the point for attendees is to spend it, if not on art, then at least on overpriced coffees and sandwiches. Which is to say little of the entrance fee, which can reach $200, a sum I was fortunate not to have paid as an industry professional. There are, in any case, plenty of better places to see art in New York than a fair, and many of them are free.<\/p>\n
\n\tBut, as the finest dealers are aware, there is a way to show good art and monetize it, and some of the 68 galleries in this year\u2019s just-opened Frieze, at the Shed in Hudson Yards, know just that. To this well-capitalized event, these select few have brought ambitious photography, eccentric paintings by self-taught artists, and sculptures that are downright weird.<\/p>\n
\n\tWhich booths stand out among the rest? Below is a look at eight of the best presentations at Frieze New York, which runs through Sunday.<\/p>\n
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Cindy Sherman at Hauser & Wirth<\/h2>\n\n\t\t\t\t\tImage Credit: Silvio Garcia\/\u00a92026 Cindy Sherman\/Artists Rights Society (ARS), New York\/Courtesy the artist and Hauser & Wirth\t\t\t\t<\/figcaption><\/figure>\n
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\n\tBooths by mega-gallery are typically forgettable, but Hauser & Wirth\u2019s at this fair is unmissable, since it marks the debut of new works by the photographer Cindy Sherman, of \u201cUntitled Film Stills\u201d fame. As with that series from the late \u201970s, Sherman once again poses for her camera, this time in extravagant get-ups that hover between elegance and gaudiness. In one, Sherman sits on a stool while donning a crown, her eyebrows hidden in makeup. This character\u2019s headwear is made of paper, and the starry background behind her is clearly a backdrop\u2014this is merely a game of dress-up in which an average citizen pretends to be a monarch. Yet in striking these poses, Sherman creates the impression of someone who matters, or at least believes she does. These pictures prove that Sherman is still the reigning queen of her medium.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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Karla Knight, Paulina Peavy, Esther Pearl Watson, and Melvin Way at Andrew Edlin Gallery<\/h2>\n\n\t\t\t\t\tImage Credit: Alex Greenberger\/ARTnews\t\t\t\t<\/figcaption><\/figure>\n
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\n\tDealers, a word of advice: If you must present a multi-artist booth, at least bind the works by a theme. (Do not simply clear inventory.) Take notes from Andrew Edlin Gallery, whose smart Frieze booth convenes four artists who contend with extraterrestrial beings and worlds beyond our own. Paulina Peavy, who claimed to have communicated with spirits during the 20th century, is represented by an array of glorious abstractions, including one in which a moth-like being with a pearl for a head navigates a forest of billowy forms. Esther Pearl Watson and Karla Knight, meanwhile, have paintings that engage with a continued fascination with aliens\u2014a timely topic, given the Pentagon\u2019s recent release of the so-called UFO files. But the quiet star of the booth is a Melvin Way drawing that appears to map a chemical compound that doesn\u2019t exist. One wonders what Way knew that the rest of us did not.<\/p>\n
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Evelyn Taocheng Wang at Carlos\/Ishikawa<\/h2>\n\n\t\t\t\t\tImage Credit: Alex Greenberger\/ARTnews\t\t\t\t<\/figcaption><\/figure>\n
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\n\tShowing in booth shared with New York\u2019s Chapter NY, the London-based Carlos\/Ishikawa gallery has brought an array of artists from its roster, the best of which is Evelyn Taocheng Wang, whose paintings meditate on how value is perceived in art. Wang has two wonderful works, both painted at a monumental scale, that extend her longstanding interest in Agnes Martin, a postwar painter known for pale canvases featuring hand-drawn grids. In one painting, Wang appropriates a blue and pink composition by Martin, overlaying it with a ram\u2019s head and a flower drawn from a Georgia O\u2019Keeffe work. One interpretation might suggest that Wang\u2019s painting traces a queer lineage\u2014Martin had female romantic partners, while O\u2019Keeffe\u2019s sexuality has long been the subject of debate. Another might argue it addresses how nothing can remain singular when styles are endlessly copied. Wang has addressed those interpreters with a small note at the painting\u2019s side: \u201cDon\u2019t take it seriously!\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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Virginia Jaramillo at Hales Gallery<\/h2>\n\n\t\t\t\t\tImage Credit: Alex Greenberger\/ARTnews\t\t\t\t<\/figcaption><\/figure>\n
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\n\tHot off a terrific retrospective that recently completed a US tour, Virginia Jaramillo is still producing remarkable abstractions that experiment with a line can do. It can divide up space, as her thin arcs of pink and blue do in one mostly black canvas, or it can help outline a previously unseen shape, as twists of black and green do in a purple painting, creating what appears to be a champagne coupe. <\/p>\n
\n\tThese small, recent works are installed around the booth\u2019s main attraction: a long 2021 canvas titled Quanta<\/em>, in which a web of multicolored lines connects yellow emanations at either end. Speaking of a similar work produced the same year, Jaramillo once said that these are \u201clines of communication.\u201d Their message is decidedly opaque.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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Akinsanya Kambon at Marc Selwyn Fine Arts and Ortuzar<\/h2>\n\n\t\t\t\t\tImage Credit: Alex Greenberger\/ARTnews\t\t\t\t<\/figcaption><\/figure>\n
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\n\tAhead of an Akinsanya Kambon retrospective opening in New York at SculptureCenter and the Center for Art, Research and Alliances later this month, both of the artist\u2019s galleries have teamed up for an unforgettable sampler of his art. A leader of the Sacramento chapter of the Black Panther Party during the 1960s, Kambon now produces ceramics that revive African traditions. Djembe #2<\/em> (2024), for example, is a three-headed vessel that alludes to djembe<\/em> drums, which enslaved West Africans were banned from playing after being brought to the United States in the 18th century. The work was fired using the Raku technique, in which ceramics are removed from the kiln while they still hot, and like many of Kambon\u2019s works in this booth, it bears small cracks. And yet, despite what it has endured during its making, the piece endures.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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Shannon Bool at Daniel Faria Gallery<\/h2>\n\n\t\t\t\t\tImage Credit: Alex Greenberger\/ARTnews\t\t\t\t<\/figcaption><\/figure>\n
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\n\tAlongside first-class works by Stephanie Comilang and June Clark, this booth features two tapestries by Shannon Bool, both depicting sculptures by 20th-century German artists Fritz Klimsch and Georg Kolbe. Both artists were known for sculpting the female form as a means of obtaining the aesthetic simplicity held in such high regard by European modernists. Bool, however, deconstructs those figures in her weavings, revealing tangles of cyborg-like gadgetry beneath their elegant legs. Fittingly, these works are machine-made: Bool makes them using a Jacquard loom, a type of device that the 19th century mathematician Ada Lovelace once compared to an analog computer, before finishing the surfaces with hand embroidery.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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Seba Calfuqueo at W-Galer\u00eda<\/h2>\n\n\t\t\t\t\tImage Credit: Alex Greenberger\/ARTnews\t\t\t\t<\/figcaption><\/figure>\n
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Culpas<\/em> (2026), the largest work in this stylish booth, features a ceramic mouth that expels a stream of synthetic hair arranged to spell out that titular word, which translates from the Spanish as \u201cblame.\u201d Who is being blamed, and for what? The work does not tell us, though Seba Calfuqueo has previously said that hair \u201chas a specific significance in Mapuche cosmovision\u201d and that it has enabled her \u201cto elude binary systems.\u201d <\/p>\n
\n\tCalfuqueo, a young Mapuche artist based in Santiago, Chile, and has taken the biennial circuit by storm, seems to suggest that a violated body is not necessarily a defeated one. It\u2019s a theme she returns, albeit obliquely, in a set of silver-coated ceramics based on Mapuche objects held in Berlin\u2019s Ethnological Museum. In remaking them, Calfuqueo lays claim to objects taken from her people and displayed in Europe for others\u2019 viewing. This booth won the top honors in Frieze\u2019s Focus section for solo presentations, and for good reason.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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Deondre Davis at Gordon Robichaux<\/h2>\n\n\t\t\t\t\tImage Credit: Alex Greenberger\/ARTnews\t\t\t\t<\/figcaption><\/figure>\n
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\n\tDeondre Davis has a habit of scavenging found objects and then attaching fake eyelashes to them. It\u2019s a sculptural conceit that\u2019s both odd and oddly engrossing: a lash-lined sculpture consists of golden hinges installed in one of the booth\u2019s corners. What makes that work so hypnotic? I\u2019m not sure I could entirely tell you, but perhaps it\u2019s something to do with Davis\u2019s way of making cold, industrial objects seem corporeal, even a little alien. At the very least, he seems interested in subverting rules, which may owe to his unusual route into the art world\u2014he didn\u2019t attend art school. Indeed, Untitled (Brick Dust) #2<\/em>, a new work on paper on view near the hinges, features a grid whose orderly logic Davis upends by spraying brick all over the place.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
[analyse_image type=”featured” src=”https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/05\/IMG_9382.jpg?w=1024″] Cashing in typically comes before supporting artists at art fairs, and Frieze New York is no different from the rest in that regard. The main priority for dealers is to make money, and the point for attendees is to spend it, if not on art, then at least on overpriced coffees and […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[61,226],"class_list":["post-1934086","post","type-post","status-publish","format-standard","hentry","category-politics","tag-artnews-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1934086","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1934086"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1934086\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1934086"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1934086"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1934086"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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