With over 190 booths at the fair, whittling the «best» down to seven is an impossible task, so a hat - tip to the
following notable mentions is more than warranted: Salon 94's expansive female -
dominated booth, with Laurie Simmons's and Marilyn Minter's works in mischievous
conversation, a large - scale painting by Lorna Simpson that comes from the same series that debuted in Okwui Enwezor's «All the World's Futures» last week, and the delicate - meets - hardcore jewelry of sculptor Kara Hamilton; Kate MacGarry's sparse but refreshingly textural booth, where works by Josh Blackwell, Marcus Coates, Florian Meisenberg, and Francis Upritchard play off one another; Standard (OSLO)'s solo booth featuring Ian Cheng's virtual world; Andrea Rosen Gallery's Michael St. John - curated booth, featuring the likes of William Eggleston and Dash Snow; Galerie Buchholz's brilliant pairing of cross-generational counterparts (and Venice favorites) Simon Denny and Isa Genzken; and The Box's presentation of Judith Bernstein's sexually charged two - dimensional works.
Within a swift, seven - month span since the Mayday opening of its new headquarters on Gansevoort Street — a light - filled, magically flexible space designed by Renzo Piano — the museum has
dominated the New York art world's
conversation with a rapid - fire succession of major exhibitions, including its sumptuous inaugural show, America is Hard to See,
followed by Frank Stella's eye - filling retrospective, and an overview of a promised gift of art from the last four decades from Thea Westreich Wagner and Ethan Wagner.