Frieze New York: A Compact Fair with Global Influence
Why Art Collectors, Gallerists, and Museums Flock to This Smaller Yet Mighty Event

Despite its relatively modest footprint compared to its global counterparts, Frieze New York continues to assert itself as a pivotal event in the international art calendar. Held this year at The Shed from May 8 to 11, the fair features 67 handpicked galleries and consistently attracts top collectors, curators, artists, and enthusiasts from around the world. Its selective size, rather than a limitation, has become one of its defining strengths, offering an intimate and concentrated experience in the heart of Manhattan.
For galleries like the Andrew Edlin Gallery, a longtime New York fixture specializing in self-taught and outsider artists, participating in Frieze is not just an option — it’s an essential part of contemporary art’s ecosystem. Andrew Edlin, who has been representing the estate of renowned outsider artist Henry Darger since 2006, summed it up candidly:
“More people will see a work at a fair in three or four days than will come into your gallery in 10 years.”
That sheer exposure makes Frieze indispensable, even for galleries already deeply embedded in New York’s bustling art scene.
A Fair That Fosters Visibility and Opportunity
Frieze New York’s draw lies not only in its curated selection but also in its role as a confluence of influential players. This year’s roster includes newcomers like King’s Leap from New York, Lodovico Corsini of Brussels, and Voloshyn Gallery, which bridges Miami and Kyiv. These fresh participants add to an already diverse mix, giving visitors a chance to encounter both established names and emerging voices.
Andrew Edlin himself has a heightened connection to fairs, as the owner of the Outsider Art Fair, another celebrated event held annually in New York. While some dealers have grown wary of the exhaustive fair circuit, Edlin acknowledges both its challenges and its unparalleled advantages.
“It’s not always the most dignified way to present an exhibition, but kudos to those who can pass on such an opportunity.”
The fair’s effectiveness is evident from past success stories. At last year’s edition, Edlin exhibited Beverly Buchanan’s pastel Dataw Island, S.C. (1993), which caught the eye of legendary collector Agnes Gund. Gund, a life trustee of the Museum of Modern Art, acquired the piece and promptly donated it to MoMA, where it went on view later that fall.
“It doesn’t get much better than that,” Edlin remarked, underscoring how Frieze can propel artworks into world-class institutions.
This year, Edlin’s booth will showcase works by Abraham Lincoln Walker and Frank Walter, both self-taught painters whose evocative pieces continue to garner attention.
A Collector’s Playground — and Strategy Ground
Collectors like Kim Manocherian, a Manhattan-based art enthusiast with a significant focus on women artists, attest to Frieze’s magnetic pull. A self-described “fair addict,” Manocherian has attended every Frieze New York edition and is a regular at Frieze London, Art Basel Miami Beach, Paris+, and Mexico City’s Zona Maco.
“It’s hard for me to look at art without buying it — I usually pray I don’t see something I like,” she joked.
Yet even impulsive buyers like Manocherian approach Frieze strategically. Many collectors, she explained, coordinate with galleries beforehand, receiving previews and sometimes securing pieces in advance.
“Most of the time, I know what I’m buying before I get there.”
Dealers welcome this approach. As Edlin puts it,
“You have to presell as an insurance policy. It takes a lot of the risk out.”
International Visitors and Museum Connections
While New Yorkers are a significant portion of Frieze’s audience, last year’s fair welcomed visitors from 66 countries. According to Christine Messineo, director of Frieze New York and Los Angeles, many visitors are drawn not just by the fair itself but by New York’s vibrant spring museum exhibitions and auction season.
“People come for the fair and also for these amazing institutions,” she noted.
Galleries at Frieze actively highlight artists with strong museum presences. This year, Hauser & Wirth will feature works by Amy Sherald and Rashid Johnson, who have concurrent surveys at the Whitney Museum and Guggenheim, respectively. These cross-institutional ties amplify the fair’s appeal and validate its standing.
Small Size, Big Impact
The fair’s location at The Shed means fewer booths than Frieze’s London, LA, or Seoul editions — a reality shaped by space constraints rather than design. However, many exhibitors see this as an advantage.
“It’s selective and concentrated. People go and they can actually see everything,” said Angelina Volk, director at London’s Emalin gallery.
Emalin, now in its third year at Frieze New York, will share a booth with Italy’s Apalazzo Gallery, showcasing works like Karol Palczak’s Gnijaca osmiornica (2025), an oil painting based on video imagery.
Meanwhile, Lucy Chadwick of Champ Lacombe (Biarritz and London) will partner with New York’s Company Gallery to present a solo booth of Stefania Batoeva, whose paintings balance figuration and abstraction. Chadwick emphasized how fairs like Frieze offer stability and connection, especially in uncertain times.
“When we’re in a moment of instability, it feels nice to seek out one community and be together. We can engage in real conversations.”
Why Frieze New York Still Matters
Despite its smaller scale, Frieze New York punches far above its weight. Its carefully curated booths, high-profile attendees, and seamless link to New York’s broader cultural fabric make it a must-attend event. For collectors, dealers, and curators alike, it offers an unparalleled mix of access, visibility, and engagement — qualities that ensure its continued relevance in the ever-evolving art market.