Green was the color at Frieze New York 2025- from Asad Raza’s Immortal Coil to 3 Jeff Koons’ Hulk Elvis Sculptures plus plenty of Greenbacks.
The fair delivered Strong Sales at The Shed closing yesterday Sunday May 11t, an energetic international audience and widespread acclaim for its ambitious performance-led programming. Over the course of five days, the fair welcomed 25,000 visitors from 60 countries. This year’s edition brought together more than 65 leading galleries from around the world, offering a highly sought after selection of works by established names and emerging voices alike.
“Frieze New York 2025 defied expectations, amplifying the momentum of our strong start to the year in Los Angeles. We are proud to have created a fair that feels responsive to the moment, while maintaining the high standards that galleries, collectors and institutions expect from Frieze. The energy throughout the week – on the floor, in the programming and across the city – was extraordinary.”
Christine Messineo, Director of Americas, Frieze
From Wednesday’s first preview moments to Sunday’s closing hours, exhibitors reported strong demand from private collectors, institutions and foundations, with sales reported across all levels of the market. Frieze New York 2025 also saw a significant institutional presence, with acquisitions made by major US museums and university collections, alongside dedicated curator and patron groups from across the Americas, Europe and Asia. Many galleries reported that serious collectors from New York and beyond were out in force, emphasising the depth and quality of engagement through to the weekend, with several also commenting on the upbeat atmosphere that characterised this year’s edition.
This year’s programme was led by a renewed focus on performance and public art. Highlights included a co-commission by Frieze and High Line Art featuring Pilvi Takala’s The Pin, curated by Taylor Zakarin, Associate Curator, High Line Art, and Immortal Coil by Asad Raza—a contemplative walking piece that invited participants to carry a plant along the High Line. Within the fair itself, a new sound installation by Carlos Reyes added a resonant, sonic layer to the visitor experience. The fair’s Focus section, advised by curator Lumi Tan, offered critical insight into some of today’s most compelling young practices, with presentations that ranged from politically charged installations to new approaches to painting and sculpture.
This year’s edition also featured the return of the Artist Plate Project, a charitable initiative supporting Coalition for the Homeless. During the fair they raised over $500,000 through the sale of limited-edition plates designed by leading artists including Jean-Michel Basquiat, Jasper Johns, Rashid Johnson, Danielle Mckinney, Faith Ringgold and Amy Sherald. Proceeds support life-saving services for unhoused New Yorkers.
HIGHLIGHT SALES
Photo by Casey Kelbaugh. Courtesy of Frieze and CKA.
Sales across Frieze New York 2025 reflected strong demand at every level of the market, with both local and international exhibitors reporting significant placements from the fair’s opening moments. White Cube recorded numerous sales, including a Tracey Emin painting for £1.2 million, alongside works by Etel Adnan, Antony Gormley, Christine Ay Tjoe and Ilana Savdie. Hauser & Wirth sold over 25 works by early afternoon of the opening day, including major pieces by Lorna Simpson, Rashid Johnson and Amy Sherald. Gagosian noted a “phenomenal” response to its presentation of Jeff Koons, with works placed including Hulk (Tubas) in the early hours of the first day. Thaddaeus Ropac placed a number of works, including a painting by Georg Baselitz for €1,000,000 and a work by Liza Lou for $225,000. Pace placed all six of its Adam Pendleton paintings within the first few hours, alongside a number of works by Lynda Benglis. Other standout results included multiple sales at Karma, among them a Gertrude Abercrombie painting for $350,000; and at Nara Roesler, where highlights included a Tomie Ohtake oil painting for $350,000. Kukje Gallery sold several works, including a painting by Park Seo-Bo in the range of $250,000–300,000 and additional works by Kyungah Ham, Kibong Rhee, Haegue Yang and Suki Seokyeong Kang. Mendes Wood DM placed several works, notably Kishio Suga’s Sliced Stones installation of eight sculptures in a museum collection, priced between $200,000–300,000. James Cohan Gallery, Tina Kim Gallery, Goodman Gallery, 303 Gallery, Gallery Hyundai and Southern Guild also reported multiple sales. On the first day, Perrotin sold out its presentation of paintings by Claire Tabouret ranging from $65,000 to $200,000 alongside mor charpentier who sold out their booth of works by Malo Chapuy. Madragoa also sold out their booth of paintings by Rodrigo Hernández. Additional strong results came from Chapter NY, Sultana, Union Pacific, and Andrew Kreps Gallery, with robust sales across a wide range of media and price points. The Focus section, supported by Stone Island and dedicated to galleries founded in the last 12 years, also saw strong sales and institutional engagement. Mitre Galeria (Belo Horizonte), winner of the 2025 Focus Stand Prize for its solo presentation of Luana Vitra, sold numerous works. G Gallery (Seoul) placed a major installation by Yehwan Song with a private institution, while Voloshyn Gallery (Kyiv) sold multiple works on paper and a sculpture by Nikita Kadan. Prices in Focus ranged from $2,000 to $100,000, with presentations praised for their clarity, ambition and depth.
*Read Vittortia Benzine’s overview of New York Art Week (Frieze New York: Beneath the Party)
