Lucien Zayan arrived at Frieze New York with a clear objective. As the founder of the Invisible Dog Art Center in Brooklyn, Zayan was on the lookout for art that delves into the intricate relationship between food and society. His quest is tied to his role as curator for the upcoming NAFAS Festival in Tokyo this September. ‘Nafas’ translates to ‘breath’ or ‘sustaining force’ in Arabic, reflecting the nurturing essence of cooking. Zayan’s growing interest in the history and anthropology of food has deepened his appreciation for its political significance in art. At The Shed in Hudson Yards, Zayan discovered an installation by Aki Goto, which stirred thoughts of sugar’s historical journey from colonized nations to Europe and its impact on culinary culture.
Throughout Frieze, themes of consumption were prevalent. David Lamelas’s piece, ‘To Pour Milk into a Glass’ (1972), captivates visitors with its commentary on information overload, while Mungo Thomson’s ‘Snowman’ (2023) critiques modern consumerism through its stacked Amazon boxes. The experience of navigating the fair can feel as mechanical as assembling a salad at a Sweetgreen, yet moments of artistic brilliance break this monotony. A partnership with various institutions, including the Whitney Museum of American Art and Dia, introduces works that diverge from typical displays, like Kite’s ‘Wíhanyablapi (of St. Louis)’ (2026), adding a dynamic layer to the fair.
Artworks that transcend market trends and capture the essence of the natural world provide refuge from the fair’s hustle. Ana Silva’s ethereal portrait at A Gentil Carioca and Nabil Nahas’s vibrant wall sculptures are standout examples. Yet, the harsh reality of the art market’s disconnect, as highlighted by Joe Bradley’s controversial paintings at David Zwirner’s booth, remains evident. Discussions with dealers reveal an art world mirroring Wall Street’s resilience amidst global turmoil, with fluctuating oil prices potentially impacting corporate collections.
Encounters with artists like Kelly Sinnapah Mary at James Cohan’s booth offer solace. Her expansive canvases, inspired by her grandmother’s botanical wisdom, create a serene escape within the fair’s frenetic pace. The week in New York’s art scene has been particularly surreal, marked by news such as The Met’s merger with Ronald Lauder’s Neue Galerie and the Frick Collection’s collaboration with Louis Vuitton. Amidst these happenings, fairs like Frieze epitomize the art world’s cognitive dissonance.
