The Armory Show, celebrating its 30th anniversary under the Frieze brand, features 235 exhibitors from 30 countries, including 55 first-time participants. Despite being NYC’s largest art fair, the event’s energy seemed subdued, likely due to economic uncertainty, a quiet summer, and the concurrent Frieze Seoul fair.
The Armory Show began 30 years ago as a playful and experimental event held in the Gramercy Hotel, where art was displayed on beds and rooms were used for exhibitions. Today, it emphasizes its New York origins while aiming to attract new collectors from nearby cities.
Christine Messineo, director of Frieze’s fair for the Americas, highlighted the fair’s connection to smaller-town marketplaces. She noted that while big cities often dominate the art scene, the Armory Show provides a platform to observe the vibrant, often overlooked art scenes from outside the coasts.
This year’s show provided a snapshot of the evolving art world dynamics. While it lacked the dramatic flair of previous years, the subdued atmosphere fostered more thoughtful art acquisition and discovery. Although some large artworks were pre-sold, galleries focused on smaller, more affordable pieces, reflecting a shift towards less expensive investments. Economic uncertainties, including high borrowing rates, recession fears, and the U.S. presidential election, influenced the event.
This year, the show has also enlisted well-known local curators to enhance its appeal.
Eugenie Tsai, ex-Brooklyn Museum curator, organized “Collective Memory” in the “Platform” section, showcasing monumental works by Nari Ward, Sanford Biggers, Karon Davis, and Nicholas Galanin.
Robyn Farrell, senior curator at The Kitchen, curated the “Focus” section, highlighting the experimental spirit of the 1994 fair and the 1913 Armory Show’s avant-garde European art.
Lauren Cornell, Bard College’s Center for Curatorial Studies director, curated the “Summit” talks, featuring Isaac Julien, who also presents a striking black-and-white video at Victoria Miro’s booth.
This year’s Armory Show featured a diverse lineup blending established names with emerging talent. While the program continued its tradition of showcasing fresh voices and major personalities, many galleries opted for familiar works rather than taking bold risks.
Here are a few of the standout presentations:
Khalif Tahir Thompson’s paintings at Zidoun-Bossuyt depict Black individuals using a mix of materials, including paint, yarn, and pleather, offering a blend of casual and ornate styles.
Oliver Herring’s gouache-on-photo works (1999-2009) at Bank continue his exploration of queer representation and identity, accompanied by a performance piece referencing dancer Rudolf Nureyev.
Dana Claxton’s color lightbox photographs at Macaulay + Co. Fine Art focus on her Hunkpapa Lakota community, presenting Indigenous women in a dignified and culturally rich manner, addressing past misrepresentations.
Camila Falquez’s photographs of queer and trans individuals, styled in mythical and symbolic compositions, are featured at Hannah Traore’s booth, highlighting her role in championing artists of color and queer identities.
Joana Vasconcelos’s large, illuminated sculptures at Platform, such as “Valkyrie Liberty,” blend elements of the Statue of Liberty and Norse mythology to create powerful, feminized forms.
Stephanie Santana’s prints at Robert Blackburn, including “As Above So Below” (2024), reflect her contributions to Black Women of Print and explore themes of spiritual and material intersections.
Octavio Abúndez’s grid of paintings at Curro, titled “A Sisyphean History of Humanity” (2024), combines text and visual art to comment on historical and personal narratives, reminiscent of On Kawara’s and Gerhard Richter’s works.
