{"id":1936452,"date":"2026-05-14T20:10:53","date_gmt":"2026-05-14T17:10:53","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=1936452"},"modified":"2026-05-14T20:10:53","modified_gmt":"2026-05-14T17:10:53","slug":"nada-new-york-2026-best-booths","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=1936452","title":{"rendered":"NADA New York 2026 Best Booths"},"content":{"rendered":"
\n\tThe New Art Dealers Alliance opened the 12th edition of NADA New York on Wednesday, coinciding again with the start of Frieze just five blocks north.<\/p>\n
\n\tThose who made the trip to Chelsea\u2019s Starrett-Lehigh building on West 26th Street and 11th Avenue were greeted by not just NADA, but also 1-54, which hosts its New York fair on the first floor. Two floors up, NADA occupied most of the third floor, flooded on either end with bright natural light from banks of floor-to-ceiling windows.<\/p>\n
\n\tThis year\u2019s fair counted 110 exhibitors, just one shy of 2025\u2019s 111, with a wide spread of galleries hailing from New York to Shanghai. Fifty-one galleries were first-time exhibitors, and some of the strongest presentations on offer came from these first-timers, signaling that NADA\u2019s curatorial standards remain high.<\/p>\n
\n\tThis year saw plenty of ceramics and fiber, a welcome shift from recent years\u2019 emphasis on figurative painting. Perhaps the emphasis on these new (old) mediums should be expected, given how, as ARTnews<\/em>\u2018s Brian Boucher reported just last week, ceramics have taken over galleries and museums of late. (And in 2023,\u00a0Art in America<\/em>\u00a0found a slew of young artists turning to fiber as their medium of choice.)<\/p>\n
\n\tBelow, see the standouts at the 2026 edition of NADA New York.<\/p>\n
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Andrae Green and Cyle Warner at Forgotten Lands (C19)<\/h2>\n\n\t\t\t\t\tImage Credit: Harrison Jacobs\/ARTnews\t\t\t\t<\/figcaption><\/figure>\n
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\n\tHailing from Saint Croix, Forgotten Lands is making its NADA debut with a two-hander of artists that exemplify the gallery\u2019s program, which often explores Caribbean identity and subjectivity, according to curator and sales manager Azi Jones. The paintings by Green, who was born in Jamaica and is now based in Massachusetts, blend Surrealism, Cubism, and figuration to depict people mid-transition, often leaping into the sea. Green\u2019s figures resist easy categorization, often blurring beyond recognition or melting into the highly stylized backgrounds that recall a color negative.<\/p>\n
\n\tThese paintings are paired with architectural works that transform the breeze block, a typically concrete block used in Carribbean architecture, into sculptures made from \u201cheirloom fabrics,\u201d the artist\u2019s description of materials that come from the personal collections of his mother and grandmother. Those blocks are core symbols of the visual vernacular across the Carribbean, used for their durability, resilience, and temperature regulating properties. Here, layered with paint, paper, netting, and other found materials, they become vessels of personal and collective history.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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Ruth Owens at Voltz Clarke (C17)<\/h2>\n\n\t\t\t\t\tImage Credit: Harrison Jacobs\/ARTnews\t\t\t\t<\/figcaption><\/figure>\n
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\n\tAppearing in the NADA Projects section is this striking presentation by New Orleans-based painter Ruth Owens. The installation centers on an incident from Owens\u2019s childhood, when she was abducted by her German grandmother on the eve of her family\u2019s emigration from Germany to America. The artist recounts the incident in delicate, dreamy watercolors that make apparent her racial difference (Owens was born to an African American father and a German mother). The watercolors, presented in shadow boxes and surrounded by layers of Nigerian batik and European floral fabrics that seem to mimic the batik, appear as intimate recollections of Owens\u2019s unique upbringing. That sense is furthered by an audio installation in which a voice recounts the abduction, and two video works depicting Black families frolicking in the water and fishing, recalling the scratchy Super-8 home movies of the artist\u2019s childhood. It\u2019s rare to find a presentation as complete and engrossing as Owens\u2019s at an art fair; it\u2019s worth taking the time to let this one transport you.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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Keiko Narahashi at Tappeto Volante Gallery (C11)<\/h2>\n\n\t\t\t\t\tImage Credit: Harrison Jacobs\/ARTnews\t\t\t\t<\/figcaption><\/figure>\n
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\n\tBrooklyn\u2019s Tappeto Volante Gallery is set to celebrate its fifth-year anniversary by inaugurating a new Tribeca space on Friday, but first, NADA New York. For the fair, the gallery has dedicated its entire booth to a site-specific installation of new work by Keiko Narahashi, whose clay sculptures and ceramic works traverse the line between whimsical, weird, and maybe even a little sinister. Gallery cofounder Jared Deery, a painter in his own right, told ARTnews<\/em> that most of the works take their inspiration from Herman Melville\u2019s 1852 novel Pierre; or, The Ambiguities, <\/em>which many scholars have suggested was a \u201cspritual autobiography\u201d for the author. That finds its way into the sculptures through suggestions of psychological complexity and interiority, a reading furthered by the fact that the body of work was developed amid COVID isolation. That melancholy and ambivalence is apparent in the muted colors and shapes that seem to wilt or bend under their own weight.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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Alissa Alfonso and Jen Clay at Baker\u2014Hall (F6)<\/h2>\n\n\t\t\t\t\tImage Credit: Harrison Jacobs\/ARTnews\t\t\t\t<\/figcaption><\/figure>\n
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\n\tAnother inspired pairing comes via Miami\u2019s Baker\u2014Hall, where Jen Clay\u2019s quilted \u201cWild Dogs\u201d hang alongside Alissa Alfonso\u2019s sculptures made from discarded basketballs. As Clay told ARTnews <\/em>at the fair, she was raised by her grandmother in North Carolina\u2014an unruly child always getting into mischief. To keep her in line, her grandmother would warn that feral dogs, common in the state, were coming to get her. That refrain became a running joke between them over the years, and when her grandmother died, Clay began conceptualizing the dogs as emblems of her grief. Working in fiber, she used her grandmother\u2019s bedsheets to craft the animals, whose threatening poses are defanged by bright patterns and softened edges. Alfonso\u2019s sculptures, meanwhile, derive from found basketballs, beach balls, and other debris collected on walks in Miami; she fashions flowers, mushrooms, and other botanicals from hand-dyed fabrics that burst up from the discarded objects. Both artists find new energy, beauty, and strangeness in what others have left behind.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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Auudi Dorsey and George Rodriguez at Con Altura (E24)<\/h2>\n\n\t\t\t\t\tImage Credit: Harrison Jacobs\/ARTnews\t\t\t\t<\/figcaption><\/figure>\n
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\n\tAt Gramercy\u2019s Con Altura, founder Steve Rivera has brought together New Orleans-based self-taught painter Auudi Dorsey with Philadelphia-based sculptor George Rodriguez. Dorsey\u2019s paintings are loose, lively, and dynamic: you can practically hear the music that the figures dance to, as seen above in Big Steppa<\/em> and Big Steppa 2<\/em>. On the opposite wall are several black-and-white watercolor works depicting various jazz figures, like Miles Davis, emerging from the horn of an old record player, their vibrant personas unable to be contained by the music. Alongside these works are Rodriguez\u2019s highly ornamented guardian figures and tomb sculptures, which draw from his Mexican-American upbringing and his experience of global travel to form novel connections between seemingly disparate ceramic traditions. The artists\u2019 works really sing in juxtaposition with each other, drawing out the joy evident in both practices.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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Elena Roznovan at Central Server Works (A9)<\/h2>\n\n\t\t\t\t\tImage Credit: Harrison Jacobs\/ARTnews\t\t\t\t<\/figcaption><\/figure>\n
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\n\tAt Los Angeles\u2019s Central Server Works, also appearing at NADA New York for the first time, are a collection of works by LA-based Moldovan artist Elena Roznovan. The works tackle motherhood as an embodied experience with intimate watercolors made post-partum, surrounded by concrete that has been embedded with various personal totems of motherhood, like breast milk, a memory card of newborn photos, an umbilical corn stump, fingernail clippings, and post-natal medications. The paintings are subtle and seemingly serene, depicting Roznovan and her child reflected in a mirror, or Roznovan with a newborn resting on her chest, contrasted by the messy materials lurking around the painting. Roznovan reminds us that motherhood is a messy, physical form of labor that does not easily fit into society\u2019s structures of belonging.<\/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\/BFA_54356_7920694.jpg?w=1024″] The New Art Dealers Alliance opened the 12th edition of NADA New York on Wednesday, coinciding again with the start of Frieze just five blocks north. Those who made the trip to Chelsea\u2019s Starrett-Lehigh building on West 26th Street and 11th Avenue were greeted by not just NADA, but also 1-54, which […]<\/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-1936452","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\/1936452","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=1936452"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1936452\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1936452"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1936452"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1936452"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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