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Frieze London and Frieze Masters opened on October 15. Photo: Linda Nylind | Courtesy of Frieze<\/p>\n\t\tFrieze London and Frieze Masters opened on October 15. Photo: Linda Nylind | Courtesy of Frieze<\/p>\n
The energy on the opening day of Frieze London on October 15 felt less like a post-Brexit correction and more like the city sliding back into its golden age. Christie\u2019s confirmed it later that evening with a \u00a3106,925,400 record result\u2014the highest total for a Frieze Week Evening Sale in seven years. Despite fewer collectors from the U.S. and Asia, London became a playground for British and European collectors, with Italians as present as the French, Eastern Europeans and even Africans, resulting in a healthy stream of sales across every tier of the market.<\/p>\n
VIPs entered at 11 a.m.; by noon, the aisles were already dense with kiss-and-check choreography and buyers eager to transact before lunch and champagne. It felt as though London had simply been waiting to bring the party back to town, and everyone showed up in their best outfits, best smiles and best manners\u2014staging a flawless spectacle of British and European opulence. Galleries across the main and curated sections brought unusually high-quality works: heavy blue-chip statements, sharp experimentation and, at Frieze Masters, art-historical gems.<\/p>\n
Among the advisors most visibly active on the ground was Philip Hoffmann of New Perspective Art Partners and Fine Art Group<\/a>, who confirmed that the atmosphere at both Frieze and Frieze Masters was exceptionally vibrant. \u201cMany dealers said they exceeded their expectations. Several Old Master dealers mentioned they had a very strong day\u2014three or four times better than last year. Most of the big galleries sold out their young contemporary presentations, either fully pre-sold or gone on the first day,\u201d he noted when we spoke in the evening. \u201cOverall, I\u2019d say sentiment in London was far above expectations.\u201d While Hoffmann acknowledged that the market may not yet be back to the peak of five years ago, he emphasized that it already feels \u201csignificantly stronger than at the beginning of this year.\u201d<\/p>\n The mood at Regent\u2019s Park was so buoyant that even Gagosian\u2014typically allergic to reporting numbers\u2014happily announced a complete sell-out by noon of its Lauren Halsey<\/a> solo presentation: collage murals and sculptural reliefs merging South Central L.A.\u2019s visual memory with ancient Egyptian and Mesoamerican cosmologies, elevating community narrative and creativity into a monument of historical record and a celebration of Black American culture.<\/p>\n Nearby, Zwirner\u2019s booth was anchored by a large, atmospherically abstract photograph by Wolfgang Tillmans<\/a>, with two works by the Swiss photographer selling for prices between $115,000 and $250,000. Additional highlights included a painting by Steven Shearer<\/a> for $550,000, two paintings by Lucas Arruda<\/a> in the $320,000-$350,000 range, a work on paper by Elizabeth Peyton<\/a> for $300,000 and another by Lisa Yuskavage<\/a> for $180,000. Two significant works on paper by Kerry James Marshall<\/a> sold for $65,000 each on the first day, coinciding with a major survey at the Royal Academy of Arts in London. The gallery also placed a painting by Victor Man<\/a>, who opened his latest show there this week. Further sales included two works by Christopher Williams in the $45,000-$50,000 range, two works on paper by Huma Bhabha for $45,000 each, a painting by Sosa Joseph for $35,000 and four paintings by Frank Walter at $18,000 each.<\/p>\n Taking over an entire wall of Hauser & Wirth\u2019s booth was a large new painting by George Rouy<\/a>, placed immediately for $275,000. It was joined by other in-demand names from the gallery\u2019s roster: a new painting by Avery Singer<\/a> (inspired by Boccioni) sold for $800,000, and an Ellen Gallagher<\/a> painting sold for $950,000 as one of the top sales of the day. The gallery also placed a George Condo<\/a> painting for $200,000, works by Keith Tyson<\/a> and Henry Taylor<\/a> at $300,000 each, Angel Otero<\/a> at $285,000, Lee Bul<\/a> at $260,000 (following her major show at Leeum Museum<\/a>), a Takesada Matsutani<\/a> painting for $250,000, Anj Smith<\/a> at $170,000, Lorna Simpson<\/a> at $150,000 (following her Met show), Allison Katz<\/a> at $45,000 (benefiting the Gallery Climate Coalition), Jenny Holzer<\/a> at $40,000 and two Christina Kimeze<\/a> works at \u00a340,000 each.<\/p>\n Meanwhile, at Frieze Masters, the Swiss mega-gallery gave Nicolas Party carte blanche to construct a booth of historical gems\u2014and every significant piece sold on the first day: Gabriele M\u00fcnter for CHF 2,400,000, Ren\u00e9 Magritte for $1,600,000, Paul Klee<\/a> for \u20ac1,450,000, Marcel Duchamp<\/a> for $1,350,000 and an uncannily sensual Alina Szapocznikow<\/a> sculpture for $1,200,000. Further placements included Jack Whitten<\/a> at $750,000, Man Ray<\/a> at \u20ac380,000, Francis Picabia<\/a> at \u20ac325,000 and Meret Oppenheim at CHF 225,000, along with works by Louise Bourgeois<\/a>, Alberto Giacometti<\/a>, Sonia Delaunay<\/a>, Hans Arp<\/a> and Hans Emmenegger<\/a>. As Iwan Wirth noted, these sales prove that true connoisseurs remain independent thinkers\u2014impervious to trends and noise.<\/p>\n Thaddaeus Ropac also had a blockbuster day: a Robert Rauschenberg<\/a> mixed-media work at $850,000, two Antony Gormley<\/a> sculptures at \u00a3500,000 each, a Daniel Richter<\/a> painting at \u20ac420,000, a Tony Cragg<\/a> wooden sculpture at \u20ac360,000, an Erwin Wurm<\/a> aluminum work at Frieze Sculpture for \u20ac330,000, a Gilbert & George<\/a> 15-panel work for $225,000, a Liza Lou<\/a> for $225,000, a Joan Snyder<\/a> for $175,000, two Megan Rooney<\/a> paintings at \u00a390,000 each, a ZADIE XA<\/a> painting at \u00a390,000, an Oliver Beer<\/a> pigment on canvas for \u00a355,000, a Hans Josephsohn<\/a> brass work at CHF 60,000, an Antony Gormley ink on paper at \u00a350,000 and a Joan Snyder work for $15,000, with 10 percent donated to the Gallery Climate Coalition<\/a>.<\/p>\n Wrapping an entire wall of Lisson\u2019s booth was a monumental tapestry by Otobong Nkanga\u2014an extension of the interspecies symbiosis and ecological storytelling she recently presented at MoMA. Although the gallery also brought more ambitious, institution-level works, it reported solid early sales on the first day, including a sculpture by Ryan Gander<\/a> for \u00a385,000 and two works by Sarah Cunningham<\/a> for $26,000.<\/p>\n Museum-profile artists were also in high demand at Lehmann Maupin, which placed over fifteen works by Korean artist Do Ho Suh<\/a> in conjunction with his major solo survey, \u201cDo Ho Suh: Walk the House,\u201d currently on view at Tate Modern through October 26. \u201cThis year marks our 21st time participating in Frieze London and our 6th year operating a gallery space in the city, and over the years, we\u2019ve been able to see the art market\u2019s consistency and resiliency here up close. Overall, this week has really felt like a celebration of the success of our London-based artists, including Do Ho Suh,\u201d Isabella Icoz, partner at Lehmann Maupin, said, noting that other artists in their roster also have a strong presence in the city. Gilbert & George just opened their solo exhibition \u201c21st Century Pictures\u201d at the Hayward Gallery, and Teresa Solar Abboud<\/a>, who recently joined the gallery, debuted a new site-specific commission there as well.<\/p>\n Clearly targeting museums and curators was the two-person booth of Peter Blum, presenting significant works by institutionally acclaimed artist Nicholas Galanin<\/a> alongside paintings by Rebecca Ward<\/a>. The gallery sold five of Ward\u2019s works for a total of $125,000 to private collections in the U.S. and the U.K.<\/p>\n A clear trend at Frieze this year was the prominence of spiritually attuned works proposing more harmonious, cosmological relationships with nature. White Cube captured this energy most powerfully, pairing Marguerite Humeau<\/a>, Howardena Pindell<\/a> and Sara Flores<\/a>\u2014three artists exploring the human\u2013natural world connection through material, ritual and energy. Collectors responded immediately, resulting in multiple sales: Humeau\u2019s large-scale bronze sold for \u00a3200,000, additional bronze sculptures sold for \u00a365,000 and \u00a350,000 and three works on paper placed at \u00a365,000, \u00a365,000 and \u00a340,000. Pindell\u2019s mixed-media painting sold for $150,000, while large paintings by Flores were placed at $115,000 and $70,000.<\/p>\n Pace devoted its entire booth to William Monk<\/a>, whose luminous kaleidoscopic portals into light and nature drew collectors into polite territorial negotiations depending on size, budget and proximity. Seven paintings sold within hours, priced from $30,000 to $295,000, going to prominent private collectors across Asia and Europe. At Frieze Masters, the gallery shifted registers with a full booth of Peter Hujar<\/a>\u2019s backstage portraits of 1970s and 1980s New York, placing six works with European and American collectors ahead of his upcoming 2026 show at the Morgan Library in New York.<\/p>\n Sean Kelly echoed a similar tone, presenting a three-person booth featuring Julian Charri\u00e8re, Sam Moyer<\/a> and Laurent Grasso<\/a>. \u201cWe\u2019ve had an excellent first day,\u201d partner C\u00e9cile Panzieri told Observer. \u201cWe\u2019ve placed multiple works by Moyer, a major painting by Grasso, an important sculpture by Charri\u00e8re, and several more conversations are ongoing.\u201d<\/p>\n Not far from his father-in-law\u2014and now confidently entering the mega-gallery lane\u2014Matthew Brown delivered a flurry of early sales: a four-part pencil work by Kenturah Davis<\/a> for $80,000; a Carroll Dunham painting for $60,000 plus two drawings at $6,000-$17,500; a Mimi Lauter<\/a> work for $60,000; three Julie Beaufils<\/a> paintings (prices undisclosed); two Uri Aran<\/a> works at $22,000-$28,000; two Kent O\u2019Connor paintings at $8,000-$12,000; two Michelle Uckotter<\/a> works at $9,500-$12,000; an Omari Douglin<\/a> painting for $10,000; and an Olivia van Kuiken<\/a> painting for $4,500.<\/p>\n Also maintaining its blue-chip side, the former Kasmin\u2014now Olney Gleason\u2014sold a Robert Indiana<\/a> for $200,000, a Diana Al-Hadid<\/a> for $90,000, three Sara Anstis<\/a> works between $10,000 and $50,000, two Cynthia Daignault<\/a> pieces, two Alexis Ralaivao<\/a> paintings, a work by vanessa german<\/a> and one by Lyn Liu<\/a>.<\/p>\n Meanwhile, on the contemporary side, London-based dealer Timothy Taylor saw success, nearly selling out his entire booth dedicated to London-based artist Daniel Crews-Chubb<\/a>, with prices ranging from \u00a370,000 to \u00a395,000. GRIMM also reported a strong opening day, placing 15 works with several more on hold. Highlights included a significant painting by Louise Giovanelli<\/a> placed with a U.K. museum for \u00a380,000, a Gabriella Boyd<\/a> work at \u00a333,000 and multiple sales by the gallery\u2019s newest addition, Anna Ruth<\/a>, who had four works placed in the \u20ac5,000-14,000 range ahead of her first solo show with the gallery in Amsterdam in April 2026. Additional sales included a Daniel Richter for \u20ac120,000, a Tommy Harrison<\/a> for \u00a325,000, an Angela Heisch<\/a> for $45,000, a Jonathan Wateridge<\/a> for \u00a37,000, a Ciar\u00e1n Murphy for \u20ac9,000, a Rafa\u0142 Topolewski for \u20ac12,000 (acquired by a London-based public collection) and a Fischer Mustin<\/a> for \u00a33,850. Further placements included an Anders Davidsen<\/a> for \u20ac13,000, two Liza Jo Eilers<\/a> works at $6,000 each and another Tommy Harrison for \u00a325,000.<\/p>\n Demand for Korean art remains strong. Tina Kim Gallery reported a robust opening day, placing a Ha Chong-Hyun<\/a> painting for $550,000, two paintings by Kibong Rhee<\/a> for $100,000 and $80,000, a textile work by Lee ShinJa<\/a> for $70,000, a multimedia work by Pacita Abad<\/a> for $35,000 and a Maia Ruth Lee<\/a> painting for $24,000. Meanwhile, her mother\u2019s gallery, Kukje, also sold across the board: two Ha Chong-Hyun paintings ranging from $230,000 to $313,600, a Kibong Rhee between $90,000 and $108,000, a Kim Yun Shin<\/a> work for $20,000-24,000, a Park Chan-kyong<\/a> painting for $2,500-3,000 and a Heejoon Lee<\/a> for $5,000-6,000. At Frieze London, Johyun Gallery paired Lee Bae<\/a> with the luminous abstractions of Kim Taek Sang<\/a>, while at Frieze Masters, it presented a full black booth of later Park Seo-Bo paintings alongside a 1960s example\u2014drawing strong interest and sales at both ends of the market.<\/p>\n Space for discoveries and experimentation<\/p>\n Frieze London remains especially worth the visit for its global range at every level\u2014and this year, the best discoveries once again greeted visitors near the entrance, when energy and attention were still high before navigating the full sweep of 280 exhibitors across Frieze London and Frieze Masters.<\/p>\n Near the entrance, ATHR Gallery from Saudi Arabia<\/a> presented a two-artist booth featuring Daniah Alsaleh<\/a> and Basmah Felemban<\/a>, both exploring the Kingdom\u2019s natural and cultural landscapes as sites in flux\u2014continuously reshaped by the movement of people, ecologies and stories. The presentation attracted international collectors, with five works by Daniah Alsaleh placed, including one for \u00a35,500, two for \u00a34,700 each and three at \u00a32,400 apiece, along with a work by Felemban for \u00a32,515 and a photographic print by Mohammad Alfaraj<\/a> for \u00a31,900.<\/p>\n Several galleries from India made a notable impact at Frieze this year, underscoring the country\u2019s accelerating role in the global art market. Leading the charge, Vadehra Art Gallery<\/a> reported multiple sales ranging from $7,500 to $40,000 across both established and emerging names from India and its global diaspora. Among the highlights, a work by Ashfika Rahman<\/a> was placed with an institution for $27,000, alongside works by Anju Dodiya<\/a>\u2014signaling continued confidence in the depth and diversity of South Asian art. The gallery also placed works by Leela Mukherjee<\/a>, Astha Butail<\/a>, Shilpa Gupta<\/a>, Biraaj Dodiya<\/a> and Faiza Butt<\/a> with a mix of private and public international collections. As part of their solo presentation, \u201cAncestral Log\u201d in the Studio section\u2014reimagining the studio as an interior theatre of the psyche, where memory, myth and selfhood collide\u2014Vadehra sold three large works by Anju Dodiya for \u00a337,000 each. Meanwhile, Mumbai- and Kolkata-based Experimenter sold works by every artist in their presentation, further confirming the momentum of the Indian scene.<\/p>\n This year, the Focus section featured some of the most interesting discoveries and experimental presentations with a global breadth. Beirut-based Marfa delivered one of the most quietly arresting booths, with a solo by Omar Fakhoury<\/a>, whose intuitive, painterly visions were hauntingly introspective and psychologically dense. Fresh off the momentum of Liste, his works also stood out for their accessibility, priced between $2,000 and $7,000.<\/p>\n Cairo-based Gypsum also received a strong response for its two-person booth spotlighting two rising young Egyptian female artists. Through fractured sculptural ceramic reliefs and hand-stitched tapestries, both artists explore intertwined themes of labor and leisure by examining the industrial and socio-political heritage of the port city of Alexandria\u2014and the nationalist representations it produced. On the first day, the gallery placed both of Marianne Fahmy<\/a>\u2019s hand-stitched tapestries with London- and Turkish-based collections at \u20ac15,000 each.<\/p>\n Sold out by the evening was El Apartamento\u2019s two-person presentation of Cuban artists Ariamna Contino<\/a> and Alex Hern\u00e1ndez, featuring mixed-media works priced between $6,000 and $55,000\u2014all placed with European private collectors. Contino and Hern\u00e1ndez\u2019s work translates scientific principles and statistics into art to examine urgent issues shaping contemporary society, from environmental health and social equilibrium to human mobility and the complexities of human behavior.<\/p>\n Nearby, in its fourth appearance at Frieze, Shanghai-based Vacancy debuted the nuanced, dreamlike paintings of young Chinese talent Xingzi Gu<\/a>\u2014poetic meditations on the porous boundary between sensory experience and its emotional or psychological afterimage. Working in diluted washes of pastel and jewel-toned acrylics, her atmospheric canvases unfolded like visual emotional murmurs and subtle fading memories.<\/p>\n One of the most compelling booths in the section came from Public Gallery, presenting a solo by London-based Xin Liu, who continues her investigation into exchanges between human and non-human realms through a distinctive blend of cutting-edge technology, scientific rigor and futuristic imagination. Centered on her concept of \u201ccosmic metabolism\u201d\u2014which draws parallels between human behavior and microbiotic systems\u2014Liu transformed the booth into a lab-like ecosystem: a rectangular steel tank cultivating fast-replicating duckweed, an invasive species often blamed for choking ponds yet now studied as a potential food and fuel source for outer space, flanked by two towers dripping continuous streams of viscous liquid. This living installation stages the tension between overproduction and renewal, using duckweed as a metaphor for fertility under social and technological pressure. Her accompanying encaustic works, made of beeswax, resin and embedded silk threads, evoke root systems, capillaries and genetic maps, extending the same inquiry into a material and sensual form. Inspired by Han Kang\u2019s The Vegetarian and filtered through a techno-feminist lens, Liu links botanical transformation to female identity, prompting a timely reflection on how the body is biologically and culturally constrained\u2014while questioning how the very notions of identity, ecology and social structures may need to be radically reconfigured to endure in fast-changing ecosystems.<\/p>\n The Focus section also made space for video installations and digital art, including a fascinating video by Korean London-based artist Enju Lee<\/a>, presented by Niru Ratnam, which explored interspecies relationships through poetic and visionary digital imagination. Nearby, Mexico City-based LLANO made a strong Frieze debut with a multimedia work by Enrique L\u00f3pez Llamas that, combining parody, humor and sociological critique, examines repetition and failure as the core mechanics of both adulthood and art-making\u2014a Sisyphean cycle of trial and error, risk and reward, shame and assurance, swinging between impostor syndrome and full main-character energy.<\/p>\n Similarly immersive and experimental was Gathering\u2019s solo booth by Christelle Oyiri, who conceived a complete multimedia environment fusing playful acid-green visuals with a club-like aesthetic. Beneath its seductive surface, the work delivered a sharp critique of the long-term effects of chlordecone contamination in Martinique and Guadeloupe\u2014a toxic pesticide scandal still impacting local bodies and land\u2014while drawing a pointed parallel to a new form of colonial extraction: the tourist economy\u2019s ongoing exploitation of the same islands. The presentation follows her recent commission at Tate earlier this year.<\/p>\n Other standout presentations appeared in \u201cEchoes of the Present,\u201d a new themed section at the center of the fair curated by Jareh Das, exploring an intergenerational dialogue between contemporary artists from Brazil, Africa and their diasporas. Rather than a geographic grouping, the section traced shared histories and aesthetic affinities rooted in the forced movement of African people across the Atlantic and sustained through ongoing cultural exchange\u2014resulting in parallel narratives of memory, ritual and resilience.<\/p>\n Among the most compelling contributions, S\u00e3o Paulo-based Sim\u00f5es de Assis presented rising artist Diambe<\/a>, whose egg tempera and oil on linen paintings echo the organic patina of her fantastical bronze forms\u2014creating surfaces that feel both ancient and intensely present, primordially grounded in nature yet visionarily attuned to a symbiotic future. Rooted in emotional intelligence and an alchemical transformation of materials, the works carry a votive charge, as if holding traces of ritual or offerings celebrating natural cycles. \u201cDiambe\u2019s work, deeply rooted in the material and spiritual experiences of the African diaspora, reflects the global resonance of Brazilian art today,\u201d gallery director Guilherme Sim\u00f5es de Assis told Observer. \u201cPresenting her in London situates Brazilian contemporary art within a transnational context that embraces ecology, ritual and the poetics of transformation.\u201d The gallery reported strong interest in the modestly priced works as the artist prepares for her forthcoming exhibition at Kunsthalle Basel in January.<\/p>\n Nearby, Mitre Galeria presented Afro-Brazilian artist Aline Motta<\/a>, whose stereoscopic 3D photographs layer family archives with the present\u2014embodying ancestral presence while confronting the erasure of slavery\u2019s history. In her hands, coffee plants become both memory and metaphor.<\/p>\n Fresh off her recently closed exhibition at MoMA PS1, Luanda-born artist Sandra Poulson<\/a> presented another politically and memorially resonant installation with Jahmek Contemporary. Poulson\u2019s practice draws on familial and social knowledge to dissect contemporary Angolan realities through semiotic studies of everyday objects\u2014such as domestic utensils\u2014that function as active agents in ongoing political and cultural transformation, inherently positioning her work within a decolonial framework.<\/p>\n Museum offerings and rediscoveries at Frieze Masters<\/p>\n This year, Frieze Masters genuinely rivaled Art Basel and TEFAF Maastricht in terms of encyclopedic ambition, with museum-quality presentations, historical rediscoveries, rare antiques and manuscripts, as well as five to seven blue-chip masters anchoring the fair.<\/p>\n Sold within the first hours for \u00a3650,000 was a triceratops head dated to the Late Cretaceous Period (circa 68 million years ago), presented by David Aroon right at the entrance. The gallery reported a dozen other sales of artifacts ranging from perfectly preserved Cycladic figurines to a complete skeleton of a saber-toothed Nimravidae dated to the Oligocene (circa 33.7-23.8 million years ago), which sold for a significant six-figure sum. \u201cFrieze Masters always attracts collectors and curators from around the world. This year had an excellent opening day of the fair,\u201d gallery director Salomon Aaron told Observer.<\/p>\n Meanwhile, on the modern and contemporary side, the New York gallery known for rediscovering and relaunching artist estates spotlighted American painter Janice Biala<\/a> (1903-2000) in the Spotlight section of Frieze Masters 2025. The presentation featured seven important paintings from the 1950s and 1960s, exemplary of Biala\u2019s signature melding of styles and cultures as she lived and worked between the U.S. and Paris. By evening, the gallery had placed four works, with prices ranging from $18,000 to $55,000.<\/p>\n One of the most memorable presentations came from San Francisco-based gallerist Wendi Norris, who debuted an exquisitely carved cradle in the form of a sailboat by Leonora Carrington<\/a>\u2014its surface covered in a densely symbolic painted narrative tracing the cycle of life as a fantastical hero\u2019s journey inspired by fairytales, myth and the artist\u2019s own boundless imagination. Originally made for her goddaughter, this is the second-largest sculpture Carrington ever produced, following the record-setting work sold at Christie\u2019s last season and, as Norris subtly hinted, it carries a similarly six-figure price. \u201cIt\u2019s a unique masterpiece\u2014I do not think it is hyperbole to say there is nothing else in her oeuvre like it. Like a monumental painting in the round,\u201d Norris commented. La cuna showcases Leonora\u2019s singular gifts for storytelling, mythical synthesis and the delightfully unexpected. \u201cWe are thrilled to present it at Frieze Masters in England, where Leonora was born, as an enduring testament to her remarkable artistry and boundless creativity.\u201d<\/p>\n This special piece was paired with an untitled tapestry by Carrington that merges symbolic references to the Mesoamerican god Quetzalcoatl with fabrication by a family of master weavers from San Miguel Chiconcuac, shown alongside works by Wolfgang Paalen<\/a>, Alice Rahon<\/a>, Remedios Varo<\/a> and Peter Young<\/a>\u2014artists whose practices were profoundly shaped by their time in Mexico. Notably, Norris, one of the first gallerists to champion Surrealist and visionary women artists, has long been Carrington\u2019s dealer, working with her during her lifetime and well before the institutional and market surge that followed her celebrated Venice Biennale inclusion. Since 2004, the gallery has also been the principal steward of Remedios Varo\u2019s equally imaginative universe, mounting multiple solo exhibitions that helped reignite attention to her fantastical work.<\/p>\n Among the artists worth discovering at Frieze Masters was Mozambican artist Teresa Roza d\u2019Oliveira, presented by Portugal\u2019s Perve Galeria\u2014a pioneering African feminist and activist whose work has long been overlooked. Born on the Island of Mozambique to Portuguese parents, d\u2019Oliveira developed a fiercely expressive visual language: archetypically symbolic, emotionally raw and unafraid to confront the \u201cdemons\u201d of society\u2014patriarchy, oppression and internal conflict. Living at the constant crossroads of African and European identity, she resisted all attempts at easy categorization and spent her life struggling to \u201cfit\u201d\u2014a white woman born in Africa during independence, and one of the few artists of her generation to openly embrace a same-sex relationship in the 1970s. The resulting paintings and drawings from the 1960s to the late 1970s\u2014many shown publicly for the first time\u2014merge poetic reflections on female experience with intuitive symbolism and radical political charge, forming a body of work that feels historically pivotal and urgently contemporary.<\/p>\n Among the blue-chip names, Gagosian presented a solo booth of virtuosic new paintings by Glenn Brown inspired by art history, while Ben Brown paired works by Lucio Fontana and Alighiero Boetti with creations by the highly in-demand design duo Claude Lalanne and Fran\u00e7ois-Xavier Lalanne, selling various pieces with prices ranging from $300,000 to $800,000.<\/p>\n Growing international interest in Aboriginal art was unmistakable, especially as Emily Kame Kngwarreye prepares for her major retrospective at Tate Modern this fall\u2014a milestone confirmed by D\u2019Lan Contemporary, which saw immediate market response in London. The gallery reported strong first-day sales for leading Western Desert artists of the generation that followed Kngwarreye and were notably shaped by her legacy. Several works by Makinti Napanangka sold steadily at AUD 60,000, 120,000 and 150,000, culminating in a record-breaking AUD 280,000 ($182,000) sale for a 2008 Lupulnga painting to a private New York collector. The gallery also placed two works by Naata Nungurrayi for AUD 140,000 ($91,000) and AUD 280,000 ($182,000), both acquired by a New York private collection\u2014underscoring the surging global demand for historically significant Aboriginal women artists.<\/p>\n The list of noteworthy sales and presentations at both fairs could go on, reaffirming that the historic London edition remains a prime international platform\u2014strategically vital to both the market and the broader art world. Far from being overshadowed, Frieze London not only coexists with the newly empowered Art Basel Paris but proves it can still compete at the highest level\u2014and hold its ground.<\/p>\n \t\t\t\t<\/p>\n","protected":false},"excerpt":{"rendered":"Frieze London and Frieze Masters opened on October 15. Photo: Linda Nylind | Courtesy of Frieze The energy…\n","protected":false},"author":2,"featured_media":504438,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7757],"tags":[67829,165372,165333,165383,165292,165378,165286,165346,165282,165341,165285,165362,165339,86116,165371,41673,9929,4021,165361,165364,165248,165277,165359,165249,165366,165387,748,165321,165288,165343,115496,165332,165358,165336,165300,31757,165377,165330,32907,165250,165251,165273,165278,165391,393,165375,165376,165301,299,165252,165367,165345,115490,165388,110598,165253,165289,165338,31759,50140,165279,165276,165302,133601,4884,101723,165254,165348,165297,165298,165308,37981,50057,165355,165281,165313,522,165293,165380,165287,165304,165255,165342,165317,165323,165280,165325,165320,146143,165349,165357,165353,18775,165270,165319,165356,165283,165350,165363,18776,115495,165274,19155,165347,165303,165256,257,4087,165295,165337,165272,165386,165335,165352,165389,141742,165291,142377,165312,165369,165257,165305,165326,165322,165258,165360,81530,165294,165390,165310,165259,165307,165328,165260,165368,165327,159697,165351,165354,165290,165261,165262,165316,165384,165392,165263,165344,165311,165381,115484,165329,165299,165309,165318,165379,165331,165314,19156,33591,165365,165264,165296,165271,165284,7587,165385,143396,151781,165265,165266,165267,165340,31650,16,15,165324,35640,165268,165334,165275,165269,139073,165315,165382,66219,165374,165373,165370,165306],"class_list":{"0":"post-504437","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-london","8":"tag-alberto-giacometti","9":"tag-alex-hernu00e1ndez","10":"tag-alexis-ralaivao","11":"tag-alice-rahon","12":"tag-alina-szapocznikow","13":"tag-aline-motta","14":"tag-allison-katz","15":"tag-anders-davidsen","16":"tag-angel-otero","17":"tag-angela-heisch","18":"tag-anj-smith","19":"tag-anju-dodiya","20":"tag-anna-ruth","21":"tag-antony-gormley","22":"tag-ariamna-contino","23":"tag-art-fairs","24":"tag-art-market","25":"tag-arts","26":"tag-ashfika-rahman","27":"tag-astha-butail","28":"tag-athr-gallery","29":"tag-avery-singer","30":"tag-basmah-felemban","31":"tag-ben-brown-fine-arts-gallery","32":"tag-biraaj-dodiya","33":"tag-boetti","34":"tag-britain","35":"tag-caroll-dunham","36":"tag-christina-kimeze","37":"tag-ciaru00e1n-murphy","38":"tag-claude-lalanne","39":"tag-cynthia-daignault","40":"tag-daniah-alsaleh","41":"tag-daniel-crews-chubb","42":"tag-daniel-richter","43":"tag-david-zwirner","44":"tag-diambe","45":"tag-diana-al-hadid","46":"tag-do-ho-suh","47":"tag-du2019lan-contemporary","48":"tag-el-apartamento","49":"tag-elizabeth-peyton","50":"tag-ellen-gallagher","51":"tag-emily-kame-kngwarreye","52":"tag-england","53":"tag-enju-lee","54":"tag-enrique-lu00f3pez-llamas","55":"tag-erwin-wurm","56":"tag-europe","57":"tag-experimenter","58":"tag-faiza-butt","59":"tag-fischer-mustin","60":"tag-francis-picabia","61":"tag-franu00e7ois-xavier-lalanne","62":"tag-frieze-london","63":"tag-frieze-masters","64":"tag-gabriele-mu00fcnter","65":"tag-gabriella-boyd","66":"tag-gagosian","67":"tag-galleries","68":"tag-george-condo","69":"tag-george-rouy","70":"tag-gilbert-george","71":"tag-glenn-brown","72":"tag-great-britain","73":"tag-grimm","74":"tag-gypsum","75":"tag-ha-chong-hyun","76":"tag-hans-arp","77":"tag-hans-emmenegger","78":"tag-hans-josephsohn","79":"tag-hauser-wirth","80":"tag-hayward-gallery","81":"tag-heejoon-lee","82":"tag-henry-taylor","83":"tag-howardena-pindell","84":"tag-international","85":"tag-jack-whitten","86":"tag-janice-biala","87":"tag-jenny-holzer","88":"tag-joan-snyder","89":"tag-johyun-gallery","90":"tag-jonathan-wateridge","91":"tag-julian-charriu00e8re","92":"tag-julie-beaufils","93":"tag-keith-tyson","94":"tag-kent-ou2019connor","95":"tag-kenturah-davis","96":"tag-kerry-james-marshall","97":"tag-kibong-rhee","98":"tag-kim-taek-sang","99":"tag-kim-yun-shin","100":"tag-kukje-gallery","101":"tag-lauren-halsey","102":"tag-laurent-grasso","103":"tag-lee-bae","104":"tag-lee-bul","105":"tag-lee-shinja","106":"tag-leela-mukherjee","107":"tag-lehmann-maupin","108":"tag-leonora-carrington","109":"tag-lisa-yuskavage","110":"tag-lisson-gallery","111":"tag-liza-jo-eilers","112":"tag-liza-lou","113":"tag-llanos","114":"tag-london","115":"tag-lorna-simpson","116":"tag-louise-bourgeois","117":"tag-louise-giovanelli","118":"tag-lucas-arruda","119":"tag-lucio-fontana","120":"tag-lyn-liu","121":"tag-maia-ruth-lee","122":"tag-makinti-napanangka","123":"tag-man-ray","124":"tag-marcel-duchamp","125":"tag-marfa","126":"tag-marguerite-humeau","127":"tag-marianne-fahmy","128":"tag-matthew-brown","129":"tag-megan-rooney","130":"tag-michelle-uckotter","131":"tag-mimi-lauter","132":"tag-mitre-galeria","133":"tag-mohammad-alfaraj","134":"tag-moma-ps1","135":"tag-mu00e9ret-oppenheim","136":"tag-naata-nungurrayi","137":"tag-nicholas-galanin","138":"tag-niru-ratnam","139":"tag-oliver-beer","140":"tag-olivia-van-kuiken","14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exceeded"},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts\/504437","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/comments?post=504437"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts\/504437\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/media\/504438"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/media?parent=504437"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/categories?post=504437"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/tags?post=504437"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"Fair](\"https:\/\/www.europesays.com\/uk\/wp-content\/uploads\/2025\/10\/Frieze-Masters-2025.-Photo-by-Hugo-Glendinning-Courtesy-of-Frieze.jpg\")
Opening day at Frieze Masters 2025. Photo by Hugo Glendinning, courtesy of Frieze<\/p>\n![\"Colorful](\"https:\/\/www.europesays.com\/uk\/wp-content\/uploads\/2025\/10\/2025_FRZLON_HALSE_007-1.jpg\")
Gagosian at Frieze London 2025. \u00a9 Lauren Halsey | Photo: Maris Hutchinson, courtesy Gagosian<\/p>\n![\"Spacious](\"https:\/\/www.europesays.com\/uk\/wp-content\/uploads\/2025\/10\/2510HAUS14TNLS-7-hires-1.jpg\")
Hauser & Wirth at Frieze London 2025. Courtesy the artists \/ estates and Hauser & Wirth. Photo: Alex Delfanne<\/p>\n![\"Massive](\"https:\/\/www.europesays.com\/uk\/wp-content\/uploads\/2025\/10\/FriezeLondon2025-Installs_006.jpeg\")
Lisson at Frieze London 2025. Courtesy Lisson Gallery<\/p>\n![\"Booth](\"https:\/\/www.europesays.com\/uk\/wp-content\/uploads\/2025\/10\/image0.jpeg\")
Peter Blum at Frieze London 2025. Photo: MICHAEL ADAIR<\/p>\n![\"Installation](\"https:\/\/www.europesays.com\/uk\/wp-content\/uploads\/2025\/10\/Install_William-Monk-at-Frieze-London-2025_Pace_4.jpg\")
Pace Gallery presenting William Monk at Frieze London 2025. Robert Glowacki Photography<\/p>\n![\"Booth](\"https:\/\/www.europesays.com\/uk\/wp-content\/uploads\/2025\/10\/White-Cube-at-Frieze-London-2025-photo-Alex-Burdiak-White-Cube-2.jpg\")
White Cube at Frieze London 2025. Photo Alex Burdiak (White Cube)<\/p>\n![\"Fair](\"https:\/\/www.europesays.com\/uk\/wp-content\/uploads\/2025\/10\/Johyun-Gallery-Frieze-London-2025-Installation-View-3-1.jpg\")
Johyun Gallery at Frieze London 2025. Courtesy Johyun Gallery<\/p>\n![\"Installation](\"https:\/\/www.europesays.com\/uk\/wp-content\/uploads\/2025\/10\/1.-Vadehra-Art-Gallery-at-Frieze-London-2025.-Courtesy-of-Vadehra-Art-Gallery.-Photo-by-Gabriele-Abb.jpeg\")
Vadehra Art Gallery at Frieze London 2025. Photo by Gabriele Abbruzzese.Courtesy of Vadehra Art Gallery.<\/p>\n![\"Installation](\"https:\/\/www.europesays.com\/uk\/wp-content\/uploads\/2025\/10\/Frieze-2025-3.jpg\")
Gypsum at Frieze London 2025. Julian Blum<\/p>\n![\"Installation](\"https:\/\/www.europesays.com\/uk\/wp-content\/uploads\/2025\/10\/2-Xin-Liu-Public-Gallery-Frieze-London-2025_2-1.jpeg\")
Public Gallery at Frieze London 2025. Courtesy Public Gallery<\/p>\n![\"Installation](\"https:\/\/www.europesays.com\/uk\/wp-content\/uploads\/2025\/10\/Frieze-London-LLANO-2025-02-Photo_-@mishin.photo_.jpg\")
LLANO at Frieze London 2025. Courtesy LLANO<\/p>\n![\"Colorful](\"https:\/\/www.europesays.com\/uk\/wp-content\/uploads\/2025\/10\/Echoes-in-the-Present-Frieze-London-2025.-Photo-by-Linda-Nylind.-Courtesy-Frieze.jpg\")
\u201cEchoes in the Present\u201d is a new section curated by Jareh Das that explores intergenerational dialogue between contemporary artists from Brazil, Africa and their diasporas. Photo: Linda Nylind | Courtesy of Frieze<\/p>\n![\"Abstract](\"https:\/\/www.europesays.com\/uk\/wp-content\/uploads\/2025\/10\/17960-1.jpg\")
Sim\u00f5es de Assis presenting Diambe. BRUNO LEAO | Courtesy of the artist and Sim\u00f5es de Assis<\/p>\n![\"Close-up](\"https:\/\/www.europesays.com\/uk\/wp-content\/uploads\/2025\/10\/David-Aaron-Frieze-Masters-2025.-Photo-by-Hugo-Glendinning.-Courtesy-Frieze.jpg\")
David Aaron at Frieze Masters 2025. Photo by Hugo Glendinning. Courtesy Frieze<\/p>\n![\"Booth](\"https:\/\/www.europesays.com\/uk\/wp-content\/uploads\/2025\/10\/Frieze25-Norris-final-9.jpg\")
Wendy Norris at Frieze Masters 2025. Photo: MICHAEL ADAIR<\/p>\n![\"Installation](\"https:\/\/www.europesays.com\/uk\/wp-content\/uploads\/2025\/10\/FM-151025-200844.jpg\")
Perve Galleria at Frieze Masters 2025. Photo: Hugo Glendinning<\/p>\n![\"Gallery](\"https:\/\/www.europesays.com\/uk\/wp-content\/uploads\/2025\/10\/DLan-Contemporary_Frieze-Masters_15.10.25_Dan-Weill-Photography-6.jpg\")
D\u2019Lan Contemporary at Frieze Masters 2025. Photo: Dan Weill
\nMore in art fairs, biennials and triennials<\/b><\/p>\n