Miles McEnery Gallery (here): This 2024 stacked composition by Liz Nielsen continues the aesthetic ideas she was exploring in her 2022 gallery show (reviewed here). Here the interior colors are more varied and mottled and tiny flares of color emanate from the edges of the some of the forms like wisps of fire. Priced at $9500.

Galerie Bastain (here): Soft focus flowers strewn across a tabletop provide an atmospheric mood in this 2005 work by Cy Twombly. The stems become gestural linear marks, while the blossoms drift into splotches of approximate color. Priced at $44000.

Nino Mier Gallery (here): Turned and inverted, this nude from Polly Borland transforms the body into an abstraction of unfamiliar curves and undulations. Like the photographic works of John Coplans and Jenny Saville, it boldly rethinks the presentation of the human form, pushing beyond overly easy recognition. Priced at $14000.

This folded work by Letha Wilson was on view in the Lindberg eyewear booth of all places. Images of marbled rock have been flipped back like triangular lapels and further divided by the diagonal interruption of a brass tube, the steel rivets of the frame creating charred areas on the edges. Hung on the booth wall, it offered openings through to the sheetrock, adding an unexpectedly sculptural see through reveal. No price available.

Sean Kelly Gallery (here): This 2023 work by Jose Dávila is a clever double appropriation, with the artist appropriating Richard Prince’s appropriation of a physically torn (and retaped) Marlboro ad. Framed with layers of clear Plexi, Dávila’s cutout floats and creates shadows, removing the iconic cowboy and leaving behind the open-ended emptiness of what we remember. Priced at $65000.

Sean Kelly Gallery (here): Angles abound in this new work by Alec Soth, drawn from his recent project “Advice for Young Artists”. It’s an engaging picture of found DIY geometries, where intersecting two-by-fours, a ladder, and other random art school materials are seen with an eye for flattened composition. Priced at $28000.

Wentrup Gallery (here): This booth was a near solo presentation of works by Anastasia Samoylova, with images from various projects covering most of the available display space. This photograph comes from a new set of pictures made along the Atlantic Coast, apparently following in the footsteps of a trip made by Berenice Abbott decades ago. This particular image is rich in color and textural detail, with yellow, red, and blue primaries tussling for attention. Priced at $11000.

Ben Brown Fine Arts (here): Mixing electrically vibrant flowers and an African mask, this 2024 lightbox by Awol Erizku was an eye popping draw. The sedately elegant face is settled into the surrounding exuberance, creating a frisson of performative moods. Priced at $40000.

Ben Brown Fine Arts (here): There were several examples of Vik Muniz’s recent reimaginings of artworks to be found at this years’s fair, but this Cubist Picasso rework (found in the booth closet) was the most intriguing in terms of its sophisticated use of layered and illusionistic physicality. Multiple layers of rephotographed prints have been incised and mounted together, creating choppy in and out cuts that smartly match the planes of the original composition. Priced at $66000.

Ben Brown Fine Arts (here): In celebration of Candida Höfer’s 80th birthday this year, the gallery is planning a comprehensive new survey, including works that haven’t been seen recently, like this gilded view of the Louvre from 2005. It’s a terrific example of what makes Höfer durably important, filled with bright clear light and visually ordered with a refined precision that few photographers can match. Priced at $70000.

Victoria Miro (here): This booth re-presented Isaac Julien’s two-channel video “Once Again … (Statues Never Die)” after its standout run at this year’s Whitney Biennial. Stills from the project and various other videos were also on view, including this towering black-and-white print of print a shadowy descent down the staircase. Priced at £38000.

James Cohan (here): This masked portrait is an image from Gauri Gill’s ongoing series “Acts of Appearance” that I hadn’t seen before and wasn’t included in her 2021 show at the gallery (reviewed here). The overly large mask gives the everyday moment a sense of the surreal, like a fleeting glimpse of something magical. Priced at $6500.

Silverlens (here): The sassy vibrancy of this work by Wawi Navarroza stood out from the sea of surrounding artworks at the fair, even though I had seen it before in her show earlier in the year at the gallery (reviewed here). Incisively playing with “pearl of the orient” stereotypes, her self-portrait setup includes tropical flowers, tin bowls, and an overseas shipping box, all connecting back to her diasporic Philippine heritage. Priced at $11000.

Jessica Silverman Gallery (here): Sadie Barnette’s clustered images are in some ways self-portraits. Here a family photograph of the artist as a child is mixed with two photographs and one graphite drawing (the stylized “Baby Boss”), the four pieces hung together in an edge-to-edge grid as one work. Both of Barnette’s photographs mix hard and soft, the rough tires/Barbie bike combination and the chain link fence backed by bright pink adding uneasy friction to the crafting of identity. Priced at $38000 for the set of four prints.

Vistamare (here): Pulled chemical residues become the subject matter in Eileen Quinlan’s recent swiped works. I saw several examples from this series at her 2023 gallery show at Miguel Abreu (reviewed here), but since each image is unique, this one is of course different. Printed on mirror, they shimmer with a kind of mottled translucency, the horizontal stops and vertical stripes creating a loose geometric framework. Priced at $20000.

Nazarian/Curcio (here): This 2023 photograph by Widline Cadet taps into the Los Angeles-based artist’s Haitian heritage. The three young women stand on the edge of the night, posed like a version of the Three Graces, but surrounded by an ethereal ghostly mood. Priced at $15000.

Yossi Milo Gallery (here): A new relationship brings the work of Samuel Fosso to the gallery stable at Yossi Milo, which hopefully will mean seeing his photographs more consistently in New York. This image of Fosso as Malcolm X comes from his 2008 “African Spirits” series, where he convincingly inhabited various American civil rights and African independence leaders. Printed imposingly large and priced at $45000.

Galerie Ludorff (here): Not all of Gerhard Richter’s overpainted photographs find a synergy that feels serendipitous. To my eye, the best of these works offer some unexpected aesthetic connection between the underlying photograph and the applied paint, as in this work, where the pinks and purples seem to emerge from the sky, like the aftermath of an exploded sun. Priced at $98000.

Hunt Kastner Gallery (here): These watery portraits are part of Jiří Skála’s larger series “#SelfieNation”. After searching out selfies using that hashtag, he then made rephotographed images of reflections in what looks like a wet blackboard. Of course, this layer of distortion interferes with the original aspirational purpose of these pictures, creating an undercurrent of thoughtful dissonance. Priced at $1300 each.

Edwynn Houk Gallery (here): The photographic images that Robert Longo made on New York City rooftops for what became his drawing series “Men in the Cities” have aged supremely well. The contorted movements and gestural jerks of his various models have a stylized elegance all their own, especially given the business attire fashions they’re wearing. Yes, we’ve seen these images plenty of times before, but their understated cool continues to astound even five decades later. Priced at $28000.