My encounters with visual art are often shaped by the connections I form with the creators. It’s not necessary for the artist to be physically present for me to appreciate their work, but their essence often seems to linger in their creations. Future Fair, hosted this year at Chelsea Industrial from May 13 to 16, embodies this sentiment perfectly.
Typically, press photos of large art fairs depict a bird’s-eye view of the sterile, industrial spaces crammed with gallery booths and tiny visitors. In contrast, the six-year-old Future Fair offered a more inviting, personal experience, fostering connections rather than isolation. This sense of community might be linked to the fair’s profit-sharing model, initiated in 2020, which shared one-third of its ticket revenue with exhibitors. Currently, it allocates 15% of proceeds, along with contributions from exhibitors, to support emerging galleries.
During the preview on Wednesday evening, I met Nanor Hakimian, who had come from Montreal to showcase two vibrant paintings by her brother Garo. Laughing about Garo’s prolific use of costly oil paints, Hakimian proudly presented his mixed-media pieces curated by Maria Yoon. “Since he was a kid, I’ve known he’s an amazing, incredible artist,” she told Hyperallergic, emphasizing that his entire being, not just his art, exudes creativity.
At the booth of Vermont-based Janna’s Gate Gallery, Hans Silas Jovine displayed oil-on-board paintings by his mother, Olivia Janna Genereaux. This was the second art fair for the New Hampshire mother-son duo. Genereaux credited her participation to her son’s determination, which also secured her a solo show at Gallery A.T. 108. “He’s been fantastic at following opportunities,” she remarked, standing beside her abstract painting “What is that sound?” (2026). “It’s been a joy to share this experience with him.”
In the Pali Galería booth from Mexico City, Brooklyn-based Argentinian artist Cloe Galasso discussed launching her painting career in 2020, the year Future Fair began. Standing before her headless nude portrait “The Purity of Honesty” (2026), Galasso shared her journey from design and modeling to full-time artistry during the pandemic. Nearby, Brooklyn artist John Vitale, a graphic designer turned painter, showcased his pastel and acrylic works. In the same booth, Canadian painter Miles Ingrassia presented intimate portraits of young men, while Madalena Negrone’s energetic paintings offered a visual respite amid the crowd.
The fair was abuzz with artists engaging with one another, not just visitors, reflecting the collective spirit that defines Future Fair’s growing community.
