News Summary
Frieze New York kicked off at The Shed with a vibrant opening despite cautious spending from collectors. Key galleries like Gagosian and Pace reported notable sales, showcasing the evolving art market dynamics amidst global uncertainties.
New York City – Frieze New York opened on Wednesday to an energetic crowd and promising art sales, despite prevailing concerns within the market. This year’s fair, held at The Shed, benefits from a vibrant atmosphere, having commenced just one day after the U.S. edition of TEFAF, attracting a wide range of collectors and art enthusiasts.
The VIP opening day showcased a lively sales floor, with notable attendance from key figures in the art world. While collectors demonstrating enthusiasm to make purchases were evident, reports indicate a more cautious approach to spending this year compared to previous editions of the fair.
Conversations among attendees highlighted growing concerns surrounding global financial and political conditions, which may influence future market behavior. Industry watchers noted that while enthusiasm exists, uncertainty is present, impacting exhibitors and collectors alike.
The Gagosian gallery made headlines by presenting three sculptures by renowned artist Jeff Koons, marking his first showcase since departing from the gallery in 2021. The piece “Hulk (Tubas)” attracted attention and was sold for nearly $3 million, reflecting the continued demand for high-profile artworks.
Other galleries reported significant sales during the opening, showcasing a diverse range of works and price points. Thaddaeus Ropac gallery, although experiencing a slower sales pace, reported a solid start. Examples of noteworthy sales at the gallery included Liza Lou’s “Zeugma” (2024) priced at $225,000, and Joan Snyder’s mixed-media work “Float” (2015) for $210,000.
The Pace Gallery enjoyed strong success from its two-artist exhibition featuring works by Adam Pendleton and Lynda Benglis, selling all of Pendleton’s paintings within hours of the fair’s opening. Andrew Kreps, a dealer in New York, noted an enthusiastic response from attendees, with artworks being sold across varying price ranges.
Furthermore, Casey Kaplan Gallery noted a positive atmosphere with several sculptures by Hannah Levy being sold in the range of $45,000 to $80,000. Goodman Gallery reported notable sales, which included Pamela Phatsimo Sunstrum’s large painting at $90,000 and a piece by Carrie Mae Weems for $100,000. Karma Gallery also highlighted successful transactions, such as Gertrude Abercrombie’s “Owl for Emil” (1958), which was sold for $350,000.
The Frieze New York fair has transformed significantly in recent years, now featuring about a quarter of the exhibitors compared to earlier editions. This shift has resulted in a more manageable and focused experience for attendees, helping adapt to the post-pandemic art market landscape.
With the art market expressing a need for adaptation, experts believe that the future of Frieze may depend on embracing innovative business models to navigate changing economic realities. The Frieze Viewing Room is also introduced to allow broader audiences to preview artworks featured at the fair, accommodating those who cannot attend in person.
Frieze New York will continue until May 11, 2025, and is supported by Deutsche Bank, serving as the global lead partner for this prestigious event. The fair’s integration with various gallery shows, museum exhibitions, and art events throughout the week enriches the overall experience for all participants, leaving many hopeful for the continued vitality of the art market.
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Additional Resources
- The New York Times: Frieze New York Review
- Wikipedia: Frieze Art Fair
- ArtNews: Frieze New York 2025 Best Booths
- Google Search: Frieze New York 2025
- Hyperallergic: Frieze New York Returns
- Encyclopedia Britannica: Art
- Artnet: Jeff Koons Hulk Sale at Frieze
- Google Scholar: Frieze New York
- W Magazine: New York Art Week 2025
- Google News: Frieze Art Market
