Returning this year to The Shed in New York City’s recently redeveloped Hudson Yards, the 2022 edition of Frieze New York is now open, with a range of shows and projects spread throughout the exhibition space that include ambitious solo projects, surveys of gallery rosters, and focused, historical presentations that underscore the fair’s place as both a site for discovery, and one of the premier selling events of the yearly art world calendar. With over 65 dealers on hand from New York and around the globe, the fair signals something of a scale-back from the sizable expanses of the versions held at Randalls Island, yet nevertheless presents a dynamic and immersive program.
Throughout, one could explore and immerse themselves in a range of works and projects. At Tanya Bonakdar, artist Olafur Eliasson was presenting works that merged together natural elements and elegant, technically-rigorous forms, while at Miguel Abreu, one could view a similarly dynamic series of glass orbs by Jean-Luc Moulene. At Gagosian, the Albert Oehlen booth was a highlight, with the artist presenting a series of commanding canvases that underscore his mix of abstraction and subversion of the form, while also serving a strange beverage called Cofftea. Also of note was an impressive presentation of new works by Alex Da Corte on view at Matthew Marks Gallery, combining a number of absurdist sculptural arrangements with canvases that mixed classical abstraction with a haunting, ghostly delivery.
Over at the fair’s Frame section, where young galleries and artists were given special focus, a range of projects were notching similar attention and excitement. Chateau Shatto’s show of work by painter Emma McIntyre was a clear favorite, while at Company, artist Cajsa von Zeipel hyper-animated human models posed a technological surreal, with strange and sexually-charged scenes that mixed a libertine abandon with a close consideration of technology and its framing of these same impulses. A similar note in a different register could be detected at Lomex, where Kye Christensen-Knowles‘s compositions posed a similar sense of charged sexuality and identity, albeit in a slightly more subdued form on canvas.
With its doors now open to the public, the following days offer ample opportunities for visitors to visit and explore, with sales expected to follow close behind. The fair closes Sunday, May 8th.
– D. Creahan