Wetterling Gallery (here): This large multi-panel work by Mike and Doug Starn covered one of the exterior walls of this booth, its convex curvature reaching outward. Made in 2025, it pushes an expressive muscular cloudscape into more moody territory with overpainting, wax, and varnish. Priced at $75000.

Wetterling Gallery (here): Several oversized cracked egg images by Nathalia Edenmont were featured in this booth, but this one was actually hidden in the closet. Its tactile breaks radiate outward from a small depressed area, creating a network of fragile lines and facets. Priced at $25000.

Altman Siegel (here): This “TV Legs” montage from 1988 by Lynn Hershman Leeson comes from her “Phantom Limbs” series which merges female bodies and technological machinery. Made just a few years before Laurie Simmons’s “Walking Objects” series, Hershman Leeson’s works wrestle with the distortions of female identity taking place in the media and in culture more broadly, with technology and self becoming increasingly intertwined. Priced at $45000.

Galerie Bacqueville (here): Bérangère Fromont’s portraits made in the Place de la République in Paris isolate individuals from marches, protests, and other gatherings. Up close, her large scale carbon prints are grainy and textural, lingering in moments of relative calm, where fragmented poses and gestures become more apparent. Priced at $15000.

Skarstedt Gallery (here): This Cindy Sherman clown from 2004, a solid work featuring multiple heads and a wavy backdrop, felt like a reasonable bellwether for tracking top ticket photo prices at this year’s fair. Offered at $275000, that price felt a bit lower than what we’ve seen in prior years for similar works (at retail), providing evidence of some continued softness at the top end of the market.

Templon (here): Chiharu Shiota is best known for her dense room-filling installations of string, but this smaller work brings photography into her artistic mix, via an anonymous family album and a tumble of loose images. Her nest of strings both holds the images in a kind of suspended fall, while also preventing us from seeing them more fully, creating an elegant meditation on visual memory. Priced at $120000.

Michael Rosenfeld Gallery (here): Romare Bearden’s photocollages have become increasingly sought after in recent years, as seen in this superlative vision of pickers in a cotton field. Bearden’s assemblage cobbles together individual bodies and an entire undulating landscape, with just enough penetrating stares to unsettle any sense of an idyllic farm. Priced at $850000.

Buchmann Galerie (here): This 1982 photograph of an evergreen forest by the German artist Wolfgang Laib is a conceptual locator of sorts. Laib has used pollen for a range of minimalist installations and artworks, and this series of photographs documents some of the locations where that pollen has been collected. This particular image revels in the layering of branches and needles, creating an all-over study of texture. Priced at $4000.

Hales Gallery (here): Andrea Geyer’s series “Constellations” features historical images of under known women who led gatherings and salons of the cultural and political leaders of their times. In this 2018 work, the German anti-fascist activist Hilde Radusch stands with her partner Eddy Klopsch, their modest tenderness fragmented into a swirl of parallel geometries, with a nod back to Josef Albers. Priced at $18000.

Alisan Fine Arts (here): Disembodied hands and gloves twist and overlap in this 2025 work by Ren Light Pan. The ghostly pigmented forms are created using infrared light, mixing positives and silhouettes. Priced at $12500.

Alisan Fine Arts (here): This 2023 photograph by Pixy Liao captures a nested setup of making pictures. Playing with the complex dominance and submissiveness of gender roles, her partner Moro looks up, taking a photograph of her, as she looks down and clicks her own shutter release. Priced at $2500.

Galerie Ludorff (here): Gerhard Richter’s overpainted photographs offer another opportunity for a market price test. This is a particularly strong example, with a twilight leaf study augmented shimmering layers of shifting paint. Priced at $150000, near the top end of what these works typically sell for.

Galerie Ludorff (here): Architectural studies by Bernd and Hilla Becher are predictable fare at a contemporary art fair, but this smaller image of an Ohio grain elevator caught my eye, mostly because of the dark interrupting lines of the electrical wires and telephone poles that the Bechers weren’t able to avoid. Priced at $5500.

Tang Contemporary Art (here): This multi-image set by Ai Weiwei (from 2007) is titled “To Fight with Crossed Arms”, and offers versions of the artist, the architect, the critic, and the curator, each holding a brick. The simple poses of holding, showing, throwing, and placing atop the head allude to different forms of resistance, using elemental gestures to communicate states of mind. Priced at $100000 for the set of 4 prints.

Carolina Nitsch (here): The precision of detail in this recent large scale floral photograph by Adam Fuss is simply astounding. The blossoms have been flattened into dapples of color, giving the surface an almost brushed quality, nearly without shadow or distortion, even close up. The resulting pigments and vegetal traces seem to float, as in an Impressionist garden view. Priced at $75000.

Carolina Nitsch (here): This 1991 work “Counting” by Lorna Simpson (the first print produced by the gallery) centers on the textures of the dress edge, the brickwork, and the braided hair. The juxtaposition of the three images plays with elusive numerical measurements of time and effort, connecting bodies to personal histories. Priced at $35000.

Carolina Nitsch (here): This recent work by Alyson Shotz finds the artist returning once again to her interest in the cyanotype. Crinkled paper is the ostensible subject of this flat print, each fold and crackle adding to the dense topography of light and dark shading. Priced at $16500.

Galerie Judin (here): Adrian Ghenie’s “Pie Fight” paintings recreate traumatic scenes from history with the faces in the pictures smeared with paint, like they had been smashed in the face with a pie. Here Ghenie uses photocollage as an intermediate step, layering images with pixelization and digital distortion into a larger composition. Priced at $52000.