Haegue Yang, Sellim (2009), via Art Observed

Currently on view at MoMA through April of next year, Scenes for a New Heritage: Contemporary Art from the Collection offers a carefully balanced rumination on the processes and practices that have defined the past three decades of contemporary art. Looking back at a diverse series of explorations into the political, visual and spatial interests of artists and their recent practices, the show is a remarkably broad rumination on contemporary art today, one that feels particularly strong during the summer gallery lull in New York. (more…)

Lynda Benglis sculptures and Hans Hurting paintings at Cheim & Read’s booth at Frieze Masters. All photos by Caroline Claisse for Art Observed unless otherwise noted

Frieze Masters and Frieze London concluded on October 14th, with both fairs reporting solid sales on the high end. This year, there was a distinct focus on curated booths and curatorial projects and less of an overt feeling of commercialization. Frieze Masters in particular focused on serious connoisseurship and an academic approach, both of which translated into a successful fair for dealers.

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