SANTA MONICA, Calif. — February 26 marked the bustling commencement of Frieze LA at Santa Monica Airport, showcasing an array of esteemed and emerging artworks. Despite the art fair’s commercial success, it also inadvertently highlighted pressing societal issues such as class, labor, and immigration. The juxtaposition between the fair’s capitalist foundation and the progressive stances professed by many in the art community was evident, raising questions about the art fair’s role in these discussions.
Outside the main tent, Amanda Ross-Ho performed her site-specific piece, “Untitled Orbit (MANUAL MODE)” (2026), by maneuvering an enormous inflatable globe across a soccer field, symbolizing the artist’s perpetual struggle against life’s chaos. Nearby, Patrick Martinez’s neon signs bearing messages like “Deport ICE” and “No Body is Illegal” were displayed in glass cases, which seemed to dilute the potency of their messages. Meanwhile, inside, Parker Gallery intrigued visitors with a unique pairing of Marley Freeman’s abstract paintings alongside antique textiles from Textile Artifacts, run by the artist’s father, Paul Freeman.
Further into the fair, Sebastian Gladstone featured Nevine Mahmoud’s intricately carved marble sculptures, creating a contrast with Emma Soucek’s textured paper pulp works. Patron, a Chicago-based gallery, presented Jamal Cyrus’s denim abstractions, blending themes of manual labor and white-collar crime. At Murmurs, Y. Malik Jalal’s assemblages of car mats embedded with framed photos prompted viewers to closely inspect the intimate yet unsettling compositions.
Frieze has continued its support for Art Made Between Opposite Sides (AMBOS), a nonprofit aiding migrant communities. This year, they offered items like votive candles and ceramic milagros, despite a last-minute relocation of their booth outside the main fair area. Tanya Aguiñiga, AMBOS Co-founder, expressed her disappointment at the move, stressing the importance of their visibility in representing marginalized communities.
At Gallery Luisotti, Christina Fernandez showcased photographs depicting the hidden labor of garment workers in Los Angeles, along with panels of text sharing workers’ encounters with immigration authorities. The fair’s atmosphere was enhanced by Cosmas & Damian Brown’s “Fountain: Sources of Light” (2026), emitting fragrant smoke reminiscent of Mexican Indigenous customs. As the day concluded, Ross-Ho remained determined, continuing her performance with hours still remaining.
