The highly anticipated 2025 edition of Frieze Los Angeles closed yesterday February 23rd, marking a defining year for the art fair with reports of strong sales, an energetic atmosphere and a vibrant audience that rallied in support of the L.A. arts community. Beyond its commercial success, the fair hosted numerous initiatives that directly contributed to recovery efforts following the region’s recent wildfires. Bringing together the city’s arts community and a global audience, Frieze Los Angeles 2025 reaffirmed its status as a vital cultural moment for the city.
The event opened with an invitation-only preview on February 20th, welcoming a dynamic mix of attendees, including prominent collectors, museum leaders, and figures from the wider cultural and entertainment industry. Over four days, Frieze Los Angeles welcomed 30,000 visitors from 85 countries, including leading collectors and representatives from at least 150 major museums and institutions. Deepening its collaboration with the wider L.A. arts community, the fair also presented special programming spotlighting museums, artist-run spaces, and nonprofit institutions—celebrating the city’s rich artistic landscape and contributing to its cultural revitalization.
Christine Messineo, Director of Americas, Frieze, said:
‘Frieze Los Angeles was a resounding success. Collectors and institutions engaged with real intent, purchasing with sustained interest throughout the fair, from the opening moments to the final hours on Sunday afternoon. The market has proven its resilience. In the face of recent challenges, the global art community has recognized the vital role of investing in the creative economy. We are deeply grateful to everyone who joined us in this important work, and we look forward to building on the achievements of this year’s edition.’
Strong Sales and Market Highlights
Frieze Los Angeles 2025 featured 97 galleries from 20 countries, with strong sales across a diverse range of contemporary art, from established figures to some of the most current work in the fair’s Focus section, supported by Stone Island, which champions new artist and gallery voices. The demonstrated interest in all areas of the market highlighted the impact of Frieze’s commitment to supporting both established and emerging talent.
Sold-out presentations included a collaborative showcase of Ambera Wellmann’s paintings by Hauser &
Wirth and Company Gallery; David Kordansky Gallery placed all paintings and sculptures from its solo
presentation of Maia Cruz Palileo within the fair’s opening hours; Mariane Ibrahim, which sold out its
inaugural Frieze Los Angeles presentation featuring Haitian-American painter Patrick Eugène; Bortolami
sold out their booth, including works by Naotaka Hiro, Rebecca Morris, and Madeline Hollander; Casey
Kaplan, which sold out its solo booth of works by Sydney Cain and Altman Siegel sold out its booth of new oil paintings by Laeh Glenn. This year’s fair also saw numerous seven-figure sales. David Zwirner reported major sales, including an Elizabeth Peyton painting for $2.8 million, a Noah Davis work for $2.5 million, an Alice Neel painting for $1.8 million, and a Lisa Yuskavage painting for $1.6 million. Gladstone Gallery saw quick success with a Keith Haring painting on glass for $2 million, as well as several Robert Mapplethorpe photograph editions priced between $200,000 and $300,000 each, and an Ugo Rondinone painting for $240,000, among other works. Thaddeus Ropac made significant sales including a painting by Georg Baselitz for €1,000,000 and a painting by Alex Katz for $800,000. Michael Rosenfeld Gallery placed multiple works, including a Ruth Asawa sculpture in the region of $1 million. Johyun reported opening day sales totaling seven figures from its dual presentation of Lee Bae and Kishio Suga. Xavier Hufkens placed major works including a painting by Tracey Emin for approximately £1,200,000, a sculpture by Antony Gormley for £375,000, two paintings by Sterling Ruby for $140,000 and $85,000, two paintings and a sculpture by Mark Manders in the range of €30,000 to €110,000 each, and a painting by Sayre Gomez for $60,000. Pace sold multiple works including a 2021 installation by James Turrell for $900,000, Robert Indiana’s 1966-1996 sculpture LOVE (Red Outside Blue Inside) for $600,000, and a new painting by Loie Hollowell for $325,000.
BLUM reported swift business, including sales of an anchor work by Yoshitomo Nara for $750,000; White
Cube sold works including a Howardena Pindell painting for $325,000, a Tracey Emin acrylic and pencil on canvas for £125,000, and a Danica Lundy painting for $75,000; Tina Kim Gallery reported multiple sales, including a Ha Chong-Hyun work in the range of $375,000 to $400,000, a bronze sculpture by Ghada Amer between $80,000 and $100,000, and a work by Suki Seokyeong Kang in the range of $75,000 and $90,000; for their debut presentation at Frieze LA, Timothy Taylor saw strong sales, including a sculpture by Annie Morris for roughly £155,000, an Antonia Showering painting for £60,000, and a Sahara Longe painting for £60,000; Night Gallery placed two works by Jesse Mockrin priced between $100,000 and $120,000 each, as well as three works by Sterling Wells between $10,000 and $20,000 each; 303 Gallery sold multiple ceramic works from their Sam Falls solo presentation, priced between $50,000 and $60,000 each, alongside two paintings priced at $60,000 each; Nara Roesler sold works including a Amelia Toledo sculpture for $50,000 and three Vik Muniz editioned series for $45,000, and Parker Gallery sold works by Marley Freeman, Karin ulbran, Claudia Keep, Sahar Khoury, Joe Minter, and Daisy Sheff.
Kukje placed works including a Park Seo-Bo painting in the range of $250,000 to $300,000, a Kim Yong-Ik painting between $200,000 and $240,000, and a Kim Yun Shin painting between $140,000 and $168,000; Jessica Silverman sold most of their booth in the early hours of the opening day, including a Loie Hollowell work for $170,000, a porcelain wall work by Rebecca Manson for $80,000, and a sculpture by Sadie Barnette for $75,000; Maureen Paley secured major sales including Rebecca Warren’s sculpture for £88,000, a Gillian Wearing bromide print for £38,000, and a Max Hooper Schneider sculpture for $28,000; first time participant Southern Guild made numerous sales including two works by Manyaku Mashilo ranging between $22,000 to $26,000 each, three Bonolo Kavula works ranging between $5,000 and $16,000 each, an Alex Hedison work for $17,000, and a Zanele Muholi print for $22,000; Nazarian / Curcio made sales including four paintings by Summer Wheat priced between $40,000 and $70,000 each, and seven works by Vincent Pocsik ranging from $7,000 to $30,000 each; L.A. Louver placed an Alison Saar woodcut print, Mutiny of the Sable Venus (2024) to the MSU Broad Art Museum in Michigan, sold paintings by Heather Gwen Martin priced between $14,000 and $26,000, in addition to selling numerous digital prints by Gajin Fujita and Saar that benefited the L.A. Arts Community Fire Relief Fund; Sebastian Gladstone sold seven bronze and wood sculptures by Emmanuel Louisnord Desir, priced between $10,000 and $40,000 each, and kaufmann repetto made sales including a Katherine Bradford painting between $80,000 and $100,000, a Magdalena Suarez Frimkess & Michael Frimkess work in the range of $80,000 to $100,000, a Kresiah Mukwazhi painting priced between €20,000 and €30,000, a Corydon Cowansage painting between $20,000 and $30,000, and a Pae White painting priced between $65,000 and $85,000.
Focus, the section of the fair that provides a platform for emerging US-based galleries under 12 years of
operation, was curated by Essence Harden (Curator, Made in LA 2025) for the second time, with many
participants reporting sold out booths and important acquisitions. Carlye Packer sold out their booth of
works by Brandon Landers, priced between $16,000 and $54,000; Dominique Gallery made several sales in the range of $8,000 to $40,000, including an institutional placement to LACMA from their solo presentation of local artist Adee Roberson; Dreamsong sold acrylic, silver nitrate, and glass on canvas works by Edgar Arceneaux in the range of $16,000-$100,000 each; Make Room placed all works from their solo presentation of artist-engineer Xin Liu to prominent private and museum collections, with prices between $20,000 and $50,000 each; Babst sold two large works on paper by Athena LaTocha for $45,000 and $55,000; Nonaka Hill sold multiple works by Sawako Goda, priced between $25,000 and $50,000 each; and Tyler Park Presents sold several pieces by Henri Paul Broyard each priced between $3,000 and $12,000.
Supporting Los Angeles Communities Through Fire Relief Efforts
A key highlight of Frieze Los Angeles 2025 was its philanthropic initiatives, which provided direct support to those affected by the recent fires. Galleries Together Victoria Miro opened their booth for the group presentation Galleries Together, which invited exhibitors and artists across the fair to contribute works in a curated group presentation with proceeds of sales directly benefiting the L.A. Arts Community Fire Relief Fund. Works were sold through all days of the fair, including Victoria Miro placing Tidawhitney Lek’s Made in Cambodia (2024) and Jemima Murphy Life in Violet (2024) each in the range of $15,000 to $20,000; Lehmann Maupin sold Liza Lou’s work on paper Sunday Afternoon (2013) for $25,000; David Kordansky Gallery sold Maia Cruz Palileo’s sculpture Spotted Aspin (2024) for $8,000; Kaikai Kiki Gallery sold the Tomoyumi painting Sunday Afternoon (2023) for $17,000, Chinatsu Ban’s painting Baptism in Mexico (2022) for $5,700, Ban’s Close Encounters of the Third Kind for $1,900, and a ceramic piece by Shin Murata and Takashi Murakami for $3,000; L.A. Louver sold Rebecca Campbell’s painting Salmon River Gold (2023) for $8,500; and 303 Gallery sold Erin Falls and Sam Falls’ ceramic piece Concord (2025) for $3,000.
An expanded selection of works presented at the fair and more will continue to be available at Frieze’s online viewing room following the close of the fair: viewingroom.frieze.com
