Frith Street Gallery, Booth C12
Dorothy Cross’s booth feels like an intimate excavation of memory disguised as sculpture. Frith Street brings a tactile quietness to the fair—objects that seem to have lived lives before finding their place here. The bronzed shells, worn leathers, and skeletal casts evoke a fragile poetics of time and the body. The inclusion of Cross’s personal studio relics adds a diaristic layer, blurring the line between archive and artwork. In a fair heavy with spectacle, this booth whispers, and that whisper lingers.
Ben Brown Fine Arts, Booth E13
Ben Brown’s stand reads like a small museum of modern restlessness. Lalanne’s sheep graze in an impossible meadow of postwar masterpieces—Gerhard Richter’s precision meets Warhol’s gloss, while Boetti’s order confronts Polke’s chaos. The installation feels almost utopian, a fantasy pasture where art history’s great personalities coexist under one roof. The booth’s strength lies not in novelty but in its orchestration: a visual symphony of material confidence and sly humor, from Vasarely’s geometry to Neshat’s lyrical resistance.
BASTIAN, Booth F13
BASTIAN offers a meditation on beauty as both endurance and rebellion. Renoir’s soft light meets Nolde’s feverish color; Twombly’s restless scrawls converse with Dubuffet’s raw textures. This cross-century salon, hung with restraint, reminds viewers that art’s vitality lies in its contradictions. Each work feels like a pulse point in a larger continuum—where Liebermann’s impressionistic civility dissolves into Rauschenberg’s post-industrial wit. In an era obsessed with the new, BASTIAN insists on the eternal.
Gagosian, Booth D9
Glenn Brown turns the Gagosian booth into a phantasmagoric cabinet of mirrors. Paintings twist time, drawings quote the old masters only to unravel them in lush, grotesque parody. Brown’s sculptures—a mix of baroque ornament and sci-fi decay—anchor this self-curated retrospective that folds decades of his practice into one feverish vision. The inclusion of historical works from the Brown Collection adds a contrapuntal hum, situating his hallucinations within a lineage of European draftsmanship. It’s a bravura gesture—excess rendered with surgical intelligence.
Luxembourg + Co., Booth D3
Joe Ray’s presentation at Luxembourg + Co. is pure gravitational force. A pioneer of Los Angeles’s Light and Space–adjacent scene, Ray’s chromatic intensity radiates across the booth, turning geometry into rhythm. The work bridges eras of experimentation—from 1970s minimalism to the slicker visual languages of today—without losing its sense of personal improvisation. His fifty-five-year practice is distilled here into an atmosphere rather than a chronology: radiant, quietly political, and insistently Californian.