Artwork Market
Artsy Editorial
One week, seven artwork festivals. Name it a scheduling nightmare or a humiliation of riches, this was the formidable process dealing with these within the New York artwork world this week.
What has historically been a fortnight of truthful exercise has been distilled into lower than seven days this 12 months, replete with a bevy of gallery openings and museum choices throughout the Massive Apple (that are coated in additional element in our information to the entire of New York Artwork Week 2025). Full schedules, heavy artwork diets, and excessive step counts—such is the order of the week for artwork lovers on the town.
Every of the seven artwork festivals going down gives a unique slice of the artwork world, from the gilded blue-chip fare of TEFAF to the bleeding-edge rising artwork at NADA.
Yesterday, Artsy rounded up its 10 greatest cubicles from Frieze New York, the staple truthful of the week. Nevertheless it doesn’t cease there. We’ve performed the onerous yards to unearth some excellent artworks on the six different festivals at present open throughout city: Esther II, NADA, Future Truthful, TEFAF, Unbiased, and 1:54.
The works chosen right here vary from historic gems to new artist discoveries. Taken collectively, they signify the breadth of labor on view on the artwork festivals—all of which can be found to browse on Artsy, whether or not or not you’re in New York.
Right here, we share 15 excellent artworks from the 2025 New York artwork festivals.
By Could tenth
The New York Estonian Home, 243 E thirty fourth St
Set up view of Margot Samel’s sales space at Esther II. Courtesy of Esther.
New child on the block—or, extra precisely, island—Esther returned for its second 12 months with 25 galleries, practically all of that are taking part for the primary time. The boutique various truthful was based final 12 months by a pair of Estonian gallerists, Margot Samel and Olga Temnikova, and boasts a wholesome Baltic contingent amongst its exhibitors. Fittingly, it’s held within the Beaux-Arts townhouse that homes New York’s Estonian Instructional Society. To the delight of tourists, Estonian kringel was served on the VIP preview on Could sixth.
Idiosyncratic installations—a pleasant characteristic of the choice truthful format, the place customary sales space shows are eschewed—are ample at Esther II. There’s artwork in all places you look within the Estonian Home: stashed in corners of the stairwell, hung from the ceiling, mounted on the pool desk. Brandon Morris’s bulbous, stitched sculptures, proven by the Montreal gallery Pangée, are located atop a piano, the instrument’s aura of grandeur whimsically clashing with the artworks’ haphazard varieties.
Priced between $4,000 and $5,500 apiece, these works—of which Teapot (Want for No Tomorrow) (2023) is the biggest—encompass classic steel teapots soldered collectively into wobbly, totem-like varieties and certain by bits of leather-based. By them, Morris, who is predicated in New York and studied vogue at Parsons Faculty of Design, explores concepts of renewal and restore. The objects are animated by means of the artist’s intervention, and he adorns them in new clothes, stitched by hand. They arrive to resemble Tim Burton characters—a bit raggedy, a contact eerie, however in the end charming.
—Olivia Horn
By Could eleventh
Starrett-Lehigh Constructing, 601 W twenty sixth St
Set up view of NADA New York, 2025. Photograph by Kevin Czopek. Courtesy of NADA.
Housed throughout a sprawling flooring of the Starrett-Lehigh Constructing in West Chelsea, NADA New York 2025 appears like a promising new chapter. The expansive floorplan offers the artwork and attendees house to breathe, creating an inviting, navigable ambiance—which was matched by sturdy attendance and a sunny ambiance on its opening day.
Now in its eleventh version, NADA New York has a fame for spotlighting rising voices: This 12 months’s truthful, which options 120 galleries from 19 international locations, gives no scarcity of discoveries. Many works stood out for his or her ingenious, high-concept use of supplies, from Haleigh Nickerson’s boombox sculptures at Superposition to Charles Degeyter’s works made with taxidermied hermit crabs at Tatjana Pieters. And unsurprisingly, rising painters stay a powerful go well with, as seen in our choices under.
Whereas works might be discovered for as little as $300, many compelling choices hovered within the $1,000–$5,000 vary, with few works priced above the $15,000–$20,000 vary.
Danielle Fretwell’s nonetheless life work are each lush and cerebral, drawing viewers in with luxurious surfaces that quietly problem notion. Working instantly from life in her studio, the artist meticulously arranges objects that nod to Seventeenth-century Dutch Golden Age portray whereas referencing up to date visible tradition. In Excessive Stems (2025), a pair of iridescent shell glasses—sourced from Etsy and well-liked on Instagram and at bachelorette events—function a sly cultural cue. The darkness in these deftly painted works is achieved not with black paint, however by means of many layers of jewel-toned hues.
“She’s on the lookout for the reality in photographs and the way we perceive and course of them,” stated gallerist Alice Amati, noting the artist’s response to a world oversaturated with conflicting narratives. The $5,000 portray offered—together with your complete sales space—inside the first hour of the truthful’s VIP preview. Now 27 and based mostly in Massachusetts, Fretwell will open a solo present in London with Alice Amati this October throughout Frieze Week.
—Casey Lesser
ARDEN + WHITE GALLERY, Sales space C212
Together with her metal sculptures, Lane Walkup reimagines blacksmithing, forging metal into sinewy, elegant traces. Her works—equal components botanical and fantastical—populate ARDEN + WHITE GALLERY’s sales space like a lyrical backyard. “She’s working with these very masculine supplies and brings this femininity and surrealism and softness to it and makes these delicate, dancing figures,” stated gallery founder and artist Cas Friese.
This piece, priced at $8,000, is the tallest of the group, reaching upward earlier than splitting into three, its spindly stems bearing delicately drooping leaves and blooms. Its jaunty silhouette, shaped from hammered traces, seems nearly to sway.
Friese added that the choice to indicate Walkup’s work was pushed partly by a need to help the artist as she rebuilds her observe after hurricane injury to her studio in Asheville, North Carolina.
—C.L.
Chilli Artwork Tasks, Sales space B101
Reeha Lim’s Cover & Search (Blue Hour Theater) (2024) is painted on silk, a medium that offers her work its distinctive shimmer and a dreamy aura. By portray on each side of the material, Lim builds up translucent layers and shadows that shift with the viewer’s perspective, conjuring fleeting reminiscences and imagined areas. This piece, priced at $14,000, is impressed by her time spent away from household through the holidays and captures feelings related to grief and longing.
“We had been initially drawn to Reeha’s work due to her distinctive course of—portray on silk to evoke a ghostly, ephemeral high quality that completely echoes the presence and absence related to being between locations and histories,” stated Aubrey Higgin, founding father of London gallery Chilli Artwork Tasks.
Contemporary from the esteemed NXTHVN residency in New Haven, Connecticut, Lim shares the sales space with fellow resident Christopher Paul Jordan; each are featured in a gaggle present opening this week at James Cohan’s Decrease East Facet gallery.
—C.L.
By Could tenth
Chelsea Industrial, 535 W twenty eighth St.
Set up view of Future Truthful. Photograph by Keenon Perry. Courtesy of Future Truthful.
Future Truthful has a fame for being pleasant—to its exhibitors, in addition to to guests and their wallets. As a result of it focuses on the rising finish of the artwork market, value factors skew a lot decrease than these discovered on the Friezes and TEFAFs of the world. And supporting small galleries is a transparent precedence: The truthful is allocating 15 % of its income to grants for up-and-coming sellers.
Based in 2021, Future Truthful is internet hosting its fifth version on the Chelsea Industrial, only a few blocks south of Frieze and across the nook from NADA. It’s an accessible entry level for brand spanking new artwork consumers, but additionally a worthy vacation spot for extra skilled collectors trying to uncover nascent expertise.
Maybaum Gallery, Sales space E8
Aiko Tezuka’s luxurious, vibrant textile works have an nearly molten visible impact. Many, together with Closing and Opening: A Examine of Bravery – Tangled 4 (2025), characteristic woven tapestries seemingly cleaved down the center, with strands of thread hanging in drooping curves between the 2 halves, as if wilting. The artist, who is predicated between Berlin and Tokyo, reworks each classic textiles and up to date ones that she designs herself. Her fashionable designs typically mix motifs each previous and new, Japanese and Western. Deconstruction is the crux of Tezuka’s observe: In unraveling these tightly woven fibers, she suggests a need to select aside parts of contemporary life, revealing the buildings that undergird it.
Tezuka is nicely established in her native Japan and in Europe: She has exhibited on the Rijksmuseum in Amsterdam and the Museum of Up to date Artwork Tokyo, amongst many others. Her publicity in america has, to date, been restricted, however she’s discovered champions in New York’s Jane Lombard Gallery and San Francisco’s Maybaum Gallery—the latter of which is exhibiting her work in its group presentation at Future Truthful. Closing and Opening: A Examine of Bravery – Tangled 4 is priced at $12,000.
—O.H.
Harsh Collective, Sales space U14
Masha Morgunova, The Nice Surprise (In Reward of the Sky), 2025. Courtesy of the artist and Harsh Collective.
In The Nice Surprise (In Reward of the Sky) (2025), Masha Morgunova bottles a second of pure awe. Ominous clouds cling over the portray’s huge, grassy panorama and mountainous horizon; the place they converge, a flash of crimson suggests a lightning storm about to strike. Two translucent, bounding figures within the foreground embody the surprise that stems from elegant pure magnificence, whereas the skeleton reverse them seems as a reminder of nature’s relative may, and our personal mortality. The work’s transcendent impact is magnified by Morgunova’s use of ornamental parts—delicate, draped chains and beadwork—to attract the viewer’s eye in. It’s priced at $8,000.
Born in Saint Petersburg and now based mostly in New York, the younger artist has beforehand exhibited in group reveals at Mama Tasks, Moosey, and Ross+Kramer. Her work, which encompasses portray, sculpture, and pictures, attracts on each intellectual references and deeply felt feelings (she’s cited each the German novelist Thomas Mann and the Romantic idea of weltschmerz, or world-weariness, as inspiration). Morgunova’s look in Harsh Collective’s sales space is her first at a New York truthful—a powerful debut.
—O.H.
By Could eleventh
Spring Studios, 50 Varick St.
Inside view of Unbiased New York. Pictures by Alexa Hoyer. Courtesy of Unbiased.
Since its inception in 2010, Unbiased New York has positioned itself as a launchpad for rising voices. This 12 months’s sixteenth version underscores that founding precept: Among the many 85 exhibitors on view, some 40 galleries are making their truthful debuts and 26 artists are making their first look in New York. With the truthful now a longtime pillar of Could’s New York artwork calendar, this enduring mission is a testomony to its means to floor contemporary expertise whereas drawing sustained curiosity from throughout the market.
Not like different festivals that silo rising galleries into distinct sections, Unbiased’s format stays democratic: Younger upstarts neighbor established names, making for a dynamic truthful expertise. On its VIP day, the tone remained curious and conversational, mirroring the truthful’s easygoing and pleasant fame.
Yancey Richardson Gallery, Sales space 618
The Hollywood signal, the Twin Towers, the Statue of Liberty: These are only a few of the enduring backdrops in Tseng Kwong Chi’s “East Meets West” collection of pictures from the late Seventies to the late ’80s. Sporting a zipped Zhongshan go well with and sun shades, the artist transforms into a personality who’s each outsider and orchestrator, utilizing his personal physique to stage deadpan disruptions of American monumentality. A number of these works is featured in Yancey Richardson Gallery’s sales space at Unbiased, anchored by a standout: the large-scale print New York, New York (1979), through which Tseng leaps mid-air earlier than the Brooklyn Bridge, shutter cable in hand.
His costume—half Communist uniform, half cliché—complicates concepts of identification, authorship, and self-display. New York, New York is likely one of the earliest and most exhilarating photographs within the collection: critical, absurd, and bursting with youthful precision.
“What I really like about New York, New York is that he’s holding the shutter launch and the cable, and he’s exhibiting you that he’s the topic and the maker of the piece on the identical time,” gallery founder Yancey Richardson instructed Artsy. The work is an version of 9, that are priced at $27,000 apiece.
—Maxwell Rabb
Shafei Xia’s erotic ceramics and work invite viewers right into a pastel world the place home life twists into one thing unusual and psychological. Her sculpture A Dream (2025) anchors the Chinese language artist’s solo presentation at P420’s sales space, depicting a bloated, off-kilter inside populated by fragmented our bodies and bulbous furnishings. Utilizing cartoonish proportions glazed in saccharine hues, the ceramic lounge contains a couple fornicating on the espresso desk. A more in-depth inspection reveals extra intrigue: a scene from an erotic movie painted on the miniature tv and a sleeping pig on the sofa.
Xia produces her ceramics in Faenza, Italy, a metropolis recognized for its centuries-old clay traditions and uniquely mineral-rich sand, integral to the tactile high quality of her work. Together with a lot of her oeuvre, this work attracts on the custom of Chinese language erotic prints. Right here, nevertheless, Xia shifts the attitude to put feminine subjectivity and interiority at its core. “There’s lots of this within the historical past of China and Chinese language artwork, however the distinction largely could also be that the girl is the actual protagonist,” famous Fabrizio Padovani, director and founding father of P420. A Dream is priced at $25,000.
—M.R.
Jane Lombard Gallery, Sales space 626
Karolina Maszkiewicz’s observe entails the gathering, drying, and cataloging of natural matter—flora collected from locations together with the Los Angeles Nationwide Forest and Joshua Tree in California. Every leaf and stem is rigorously preserved, labeled, and organized in her studio like scientific specimens. Her sculptural mobiles—evoking the delicately balanced types of mid-century grasp Alexander Calder—emerge from this system. In Life is a backyard (2025), wire-thin armatures lengthen from a textured, rock-like ceramic base, balancing dried pods and leaves in a suspended arc. The outcome evokes each pure development and human curation, inserting it someplace between a seedling, a constellation, and a laboratory show.
Priced at $5,000, Life is a backyard is a standout amongst Jane Lombard Gallery’s rigorously curated eco-feminist sales space, which additionally options works by Ilke Cop and Eva Struble. “When speaking in regards to the panorama and why we selected this work for this sales space, it’s that our entire sales space offers with ecofeminism, and this concept: ‘Does nature exist with out the intervention of girls?’” stated Ariel De Sal, affiliate director on the gallery.
—M.R.
By Could thirteenth
Park Avenue Armory, 643 Park Ave.
Inside view of TEFAF New York, 2025. Photograph by Jitske Nap. Courtesy of TEFAF.
Oysters had been shucked, champagne was poured, and offers quietly unfolded because the packed VIP day of TEFAF New York opened its doorways on Could eighth on the Park Avenue Armory. Now in its eleventh version, the truthful returns with its signature mix of blue-chip polish and classic splendor. This 12 months’s occasion brings collectively 91 sellers from 13 international locations providing every part from Renaissance cameos to up to date masterworks—and some ultra-rare surprises in between.
On opening day, the venue was abuzz as artwork world luminaries frantically whizzed by means of shows of museum-quality artwork jewellery, design, and antiques. A number of the most packed cubicles featured works akin to Korean artist Kim Tschang-Yeul’s hypnotic water drop work at Tina Kim Gallery, to buzzy new work by artwork world A-lister Anna Weyant at Gagosian.
As at all times, costs had been totally on request—and sometimes six to seven digits deep—however the truthful provided no scarcity of masterpieces for guests in attendance.
Richard Saltoun, Sales space 205
Tucked in a quiet nook of the Park Avenue Armory, Richard Saltoun’s sales space mounted a robust tribute to girls fiber artists, with works by Magdalena Abakanowicz and Yvonne Pacanovsky Bobrowicz. However the simple star of the sales space is Colombian artist Olga de Amaral’s Hojarasca Barbas de piedra (1973), a thick tactile expanse of handwoven wool and horsehair that drapes to depict an ambiguous geological occasion. Its palette, shifting from lavender to rust and ochre, evokes sediment, shadow, and lightweight, grounding summary type in earthly materiality. Hojarasca Barbas de piedra is priced within the vary of $700,000 to $900,000.
The piece harkens again to the MoMA’s landmark 1969 textile exhibition, the place de Amaral introduced an enormous work from her “Woven Partitions” collection alongside works by textile vanguardists akin to Abakanowicz. Greater than 5 many years later, the artist’s long-overdue renaissance is in full bloom: a current sweeping European retrospective on the Fondation Cartier, in addition to a standout presence on the Venice Biennale, have put her again within the highlight.
—M.R.
Friedman Benda, Sales space 325
Often known as “the daddy of artwork furnishings” in america, the late Wendell Fort pioneered using stack lamination, a course of borrowed from decoy carving that enabled unprecedented sculptural freedom in wooden. This strategy led Fort to create varieties with sweeping curves and structural complexity, pushing furnishings past operate into the realm of high quality artwork.
One of many earliest and most iconic examples of this innovation is Squid Chair with Desk (1966), proven within the U.S. for less than the second time in about six many years at Friedman Benda’s sales space. Crafted from cherrywood, the piece contains a fluid, asymmetrical silhouette and a trio of tentacle-like legs that curl upward from the bottom, giving the composition a putting, exploratory power. This work is priced inside the vary of $400,000–$500,000.
Fort made just one different “Squid Chair,” which was comparable in type, however with out the desk component. Each relate to a gaggle of early works through which Fort experimented with serpentine varieties. “At this level in his profession, he was mastering this method, which he’s come to be recognized for—and he would return to varieties like this in direction of the top of his profession,” stated Alex Gilbert, director of Friedman Benda.
—M.R.
Leon Tovar Gallery, Sales space 366
Fernando Botero, El Nuncio, 1987. Courtesy of Leon Tovar Gallery.
After watching Conclave—the current Oscar-nominated movie starring Ralph Fiennes and Stanley Tucci that dramatizes the secretive election of a brand new pope—gallerist Leon Tovar determined to middle Fernando Botero’s portrait of a bulbous bishop, El Nuncio (1987), in his TEFAF sales space.
Nevertheless, the vendor didn’t count on life to mimic artwork. Simply weeks later, Pope Francis handed away, initiating a real-life conclave, and, on the VIP opening day of the truthful, white smoke rose above the Vatican. Abruptly, Botero’s clergyman felt nearly prophetic.
The determine in Botero’s portray is flanked by altar boys and nuns rendered within the Colombian artist’s signature exaggerated, voluminous fashion. The scene is directly absurd and reverent, capturing the pageantry of ecclesiastical energy with a wink. “Botero is filled with humor,” Tovar instructed Artsy. “For those who take a look at the bishop, he doesn’t even contact the ground as a result of he has a cushion [under his feet] as a result of he doesn’t wish to [touch the ground].” The worth for the large-scale Botero portray was not disclosed.
—M.R.
By Could eleventh
Halo, 28 Liberty St.
Set up view of 1-54 New York, 2025. Courtesy of 1-54 New York.
Going down within the ominously titled (and difficult to Google Map) new venue The Halo, 1:54 New York this 12 months traded Chelsea for the Monetary District for its third location change in as a few years. Now in its eleventh New York version, the truthful continues to hew firmly to its mission of championing artwork from the African continent and its diaspora, as with its different festivals in London and Marrakech.
This 12 months’s truthful options 30 exhibitors from 17 international locations within the ethereal venue, which, because the title suggests, is structured in a round format which will take quite a lot of laps for guests to correctly digest. Works by greater than 70 artists are on view, spanning main names akin to Kerry James Marshall and Aboudia by means of to rising abilities, evidenced by our choice under.
Competing with the openings of Unbiased and TEFAF throughout city, 1:54’s VIP day was nonetheless well-attended by a vibrant and energetic crowd. Works listed here are priced predominantly within the four-figure and low $10,000s vary, however strategy the higher 5 figures for extra established artists.
Jonathan Carver Moore, Sales space 12
Taking his personal group as his topics, younger American artist Adrian Armstrong paperwork the up to date Black expertise within the U.S., making references to the historical past of pictures, portraiture, and collage.
Within the joyful triptych display screen Luke 15:7 (2025) on the sales space of the San Francisco gallery Jonathan Carver Moore, he portrays a gaggle of Black individuals at a celebration, their our bodies superimposed on a flat blue painted background. These figures, drawn in ballpoint pen and with humorous equipment painted on (rainbow enamel or assertion sun shades), are engrossed in dance and celebration. Because the work’s title suggests, references to faith are central to this piece, from its altarpiece-inspired, three-part format, to the bible within the palms of 1 reveller, to a necklace that includes Jesus across the neck of one other. The bible verse it references evokes God’s pleasure at a repentant sinner coming to religion. When the doorways of the folding display screen shut, they reveal a collaged exterior paying homage to stained glass.
“He normally likes to {photograph} Black individuals having fun with themselves, like at events,” defined gallerist Jonathan Carver Moore, who found the artist at NXTHVN, Titus Kaphar’s artist residency in New Haven, Connecticut. He added: “That is a picture he’s taken earlier than…drawn it and collaged it. He grew up in a spiritual background but additionally loves Black individuals, connecting with the Church and having enjoyable.” The work is priced at $5,000.
—Arun Kakar
Fridman Gallery, Sales space 26
Meditating on diasporic identification, belonging, and homeland, Madjeen Isaac’s luscious portray Gonna Search the Sky for New Horizons to Unfold (2024) is a shifting depiction of the artist’s private historical past.
Within the portray, Isaac, a first-generation Haitian American, depicts a hybrid panorama, superimposing jungle landscapes from Haiti with a vignette of a New York constructing. The work has a wistful tone: Three figures are proven stumbling by means of the Haiti flora, with one shining as a silhouette on the high of a mountain panorama. The New York constructing, in the meantime, is embellished with bubble-written graffiti studying “We Can’t Dream Alone.” Painted in response to the late 2024 U.S. journey bans to and from Haiti, the work probes on the discomfort of not having the ability to entry one’s homeland, and the way locations may be reimagined by means of reminiscence.
“She paints reminiscences of panorama in Haiti, combining them with city scapes of New York Metropolis,” stated gallery director Ilya Fridman. “That creates these distinctive compositions of metropolis buildings and plush vegetation, as if ancestral spirits exist concurrently in each locations.” The work is priced at $7,000.
Isaac, who has had work featured at establishments together with Smack Mellon and the Brooklyn Museum, was final 12 months’s recipient of the NYSCA/NYFA Artist Fellowship.
—A.Ok.
Sanlé Sory, Je Vais Décoller, 1977
Yossi Milo Gallery, Sales space 05
Sanlé Sory, Je Vais Décoller, 1977. © Sanlé Sory. Courtesy of Yossi Milo, New York.
Born in 1943, the photographer Sanlé Sory is among the many key documenters of West African nation Burkina Faso’s cultural emergence after it declared independence from France in 1960. The artist is understood for capturing the exuberance of the nation’s burgeoning youth tradition, exhibiting his topics as they needed to precise themselves inside the context of a fast-modernizing nation.
Within the work Je Vais Décoller (1977), on the sales space of the New York’s Yossi Milo Gallery, a younger man is proven playfully climbing right into a studio backdrop, onto which an airplane is painted. Sory used backdrops for various works, normally commissioned by a painter to supply a pictorial context. Along with including a component of the fantastical, this setup enabled Sory to depict his younger topics with a touching humor.
“All these topics got here to the studio dressed up and felt so glamorous and stylish, and he gave them these unimaginable portraits,” stated gallerist Yossi Milo. “The place individuals needed a unique panorama to be photographed [against], it will kind of drive the topic,” he added. “Right here, the man is ‘touring,’ climbing on the faux airplane on the canvas along with his personal bag and the sun shades.”
The work, priced at $12,000, is considered one of a number of by important West African photographers featured on the gallery’s sales space, which additionally consists of works by Malik Sidibé and Seodou Keïta. Sory, whose pictures have featured extensively in institutional and business reveals, was notably just lately featured in “Giants: Artwork from the Dean Assortment of Swizz Beatz and Alicia Keys” on the Brooklyn Museum final 12 months and also will be featured in “Concepts of Africa: Portraiture and Political Creativeness” on the Museum of Fashionable Artwork, New York in December.
—A.Ok.
