Every May, New York City transforms into a hub for the art world, with major art fairs, gallery exhibitions, and important contemporary and modern art auctions taking place. This year, I attended most of them and would like to share my impressions.
TEFAF New York: Sophistication and High Stakes
TEFAF New York was established in 2016, initially hosting both Fall and Spring editions at the Park Avenue Armory. Since COVID, it has consolidated into one annual fair held each May. I used to attend on VIP opening day, but it’s become incredibly crowded, so I visited the day after this year.
Frieze New York: Still Bold, But Different
By 2017, some presentations began leaning more toward trendy or decorative works rather than thoughtful curation. However, in 2019, the dramatic use of space stood out and made for a memorable experience. This year, standout pieces included a Jeff Koons work (left image) priced at $350K and a piece by Rashid Johnson, timely, as he’s currently showing at the Guggenheim. Frieze is a strong fair for those looking to acquire new or recent works by major artists, particularly for foundations, institutions, and investment collectors. Generally, prices are lower than TEFAF, but still significant.
Independent Art Fair: Hidden Gems and Emerging Voices
Independent hosted some compelling gallery booths this year. It felt like the right place to purchase art for more personal or residential spaces, like a living room or large foyer. The artists here are typically emerging and not yet trendy, but you can still find impressive large-scale paintings priced under $ 20 K. It’s a fair for collectors who trust their own taste and enjoy discovering talent before the mainstream does.
NADA New York: Quiet This Year
NADA is usually a good platform to discover up-and-coming artists, but this year’s edition was less impressive. I didn’t find any standout new artists or works.
Spring/Break Art Show: Experimental and Unexpected
After attending countless art fairs over the past decade across three continents, I’ve realized that nothing quite compares to the Spring/Break Artshow. It feels distinctly American—funky, bold, original, and delightfully imperfect. It may not be the most polished or tightly organized event, but that’s precisely what gives it character and makes it stand out.
This year’s edition in NYC was smaller than previous ones, yet it still offered the chance to connect with a diverse array of artists from various cultural backgrounds—a consistent highlight for me. I was especially impressed by Aiza Ahmed’s installation, which recreated the Wagah-Attari border and its daily Beating Retreat Ceremony through evocative drawings, music, and sculptures.
Despite its scale, I was surprised by how vibrant and energetic the show remained. Spring/Break continues to provide a refreshing and unconventional experience, unlike any other fair. While the venue can be challenging, it’s inspiring to see how artists and curators embrace and transform the space. Some of the conceptual depth on display reminded me of Art Basel, though less polished, the ideas here often feel more daring. For its creativity and willingness to experiment, Spring/Break is still an essential stop on the art fair circuit.
Major Auction Houses: Christie’s, Sotheby’s, Phillips: A Market in Flux
Each of the big three auction houses held major sales of modern and contemporary art this May. While these auctions aren’t as large as their November counterparts, they are still among the most significant of the year in New York. However, the market felt soft this time—estimates were noticeably lower, and some major works, like a Giacometti portrait sculpture, failed to sell. It wasn’t a powerful auction cycle.
Major Gallery Exhibitions
Several blue-chip galleries also mounted major shows:
-
Gagosian (Upper East Side): Tête-à-Tête by Picasso - a stunning show since it was in collaboration with Paloma Picasso. A great opportunity to explore some lesser-known styles of Picasso's work that are not usually familiar to us.
-
Gagosian (Chelsea, 21st St): Japonisme: Cognitive Revolution—Learning from Hiroshige by Takashi Murakami - an interesting exploration of influence and style.
-
Gagosian (Chelsea, 24th St): Endless Painting by Willem de Kooning - a powerful retrospective that really shone in person.
-
Skarstedt (Chelsea): Oxidation Paintings (1977–1978) by Andy Warhol - these works were particularly striking due to the material changes over time, making them fascinating to experience in person.
Pace Gallery: The American Dream by Robert Indiana - a fresh look at the iconic artist beyond the familiar “LOVE” motif. The show captured Indiana’s sharp formalism and political edge with strong selections that reminded me how relevant and underappreciated some of his lesser-known works are.
