Praise Shadows Art Gallery (here): While this doubled portrait appears to have the gridded pixel texture of an over enlarged digital or screen-based image, recent Yale MFA grad John Shen’s work (from 2026) was actually made with a hand-crafted camera built from thousands of drinking straws. This “analog mimicking digital” approach is then doubled using a folded piece of paper, creating an amorphous two-headed Janus-like (or Rorschach test) figure. Priced at $4500.
Ethan Cohen Gallery (here): Renee Cox’s massive photograph “The Signing” (from 2017) reimagines Howard Chandler Christy’s image of the signing of the constitution of the Untied States, replacing the various historical figures with a cast of expressive black stand-ins, including the artist herself in the place of George Washington. It’s a transformative reimagining of history, filled with exuberant presence and belonging. Shown at monumental scale in the booth, but also available in a somewhat smaller 20×60 inch size, priced at $20000.
Ben Brown Fine Arts (here): Inspired by Ed Ruscha’s 1960s era paintings of Los Angeles, Vik Muniz made a short lesser known series of his own interpretations of those compositions in 2008 using carefully cut and arranged car parts. Rust and corrosion on sheet metal cleverly replicate the sunset glow and the burning flames, with pebbled leather making up the lettering. Priced at $75000.
Ben Brown Fine Arts (here): This 2026 retroreflective work by Hank Willis Thomas fills the silhouette of Booker T. Washington on a horse (sourced from an early 1900s photograph) with a sea of black faces collaged from protests, marches, and other gatherings, only revealed when seen with a flash of light. It’s a smart meditation on the links of cultural history, and the important influences of the past framing the present. Priced at $75000.
Carolina Nitsch Contemporary Art (here): The flattened flower effect Adam Fuss has been experimenting with over the past few years adds a black background and a more subtle compositional flow in this 2026 work. Up close, the textures are soft and mottled, edging toward drifting Impressionistic ambiguity as though floating on a dark pond. Priced at $45000 in the medium size.
Yancey Richardson Gallery (here): Marilyn Minter’s expressively blurred eye (from 2026) pushes makeup past glow and embellishment into the realm of sparkling squiggled light. The colors bend and wander with Euphoria-like dreaminess, with highlights that shimmer and bounce with implied fluttery movement. Priced at $24000.
Edwynn Houk Gallery (here): A new gallery relationship with the estate of László Moholy-Nagy provides the backstory to this positive/negative nude diptych from 1931 (perhaps the artist’s wife Sibyl). With a vertiginous twist of viewing angle, a simple reclining pose is dramatically upended. In posthumous prints, priced together at $35000.
Lyndsey Ingram (here): Kate Friend’s series “As Chosen By” turns classic floral still life photography into a version of indirect portraiture. Here Angelica Huston has selected roses in a thin black vessel, the image made on location at the actress’ home. Priced at $6000.
Sous Les Etoiles Gallery (here): These polarized abstractions by Gottfried Jäger from 1965 were part of a larger series made using acetate sheets and rotations of polarized light. The resulting compositions all have the same geometric layout, but drift through alternate combinations of gradient colors based on the configurations. Priced at $12000 each.
Contemporary Heis (here): Perhaps better known as a painter and sculptor, the Japanese artist Rakuko Naito also made a series of photocollages in the early 1990s. Bringing together micro-images of fibrous plants, the collages are rich in textured order, with scratchy lines like gestural marks. Priced at $16000.
Sean Kelly Gallery (here): Awol Erizku’s incisive still life setups have become a photographic staple of the contemporary art fair circuit – it’s hard not to find at least one or two sprinkled in among the booths at every fair. This 2018 work gathers together many of Erizku’s cultural touchstones of black diasporic life (both ideas and objects), including a basketball, a Nefertiti statue, and an African mask. A Bronx Museum solo exhibition is on the schedule for 2027. Priced at $40000.
Huxley-Parlour Gallery (here): This is a somewhat unusual work for the Korean photographer Jungjin Lee, who might be better known for her landscapes. Made in 2005, it mirrors a pagoda into a tall two-pointed geometric scroll, hand printed on texturally flecked mulberry paper. The shadowed layers repeat up and down, into an elegantly meditative and minimal form. Priced at $20000.
Nazarian/Curcio (here): While I had assumed most of Daniel Gordon’s recent work was in black-and-white (as seen in a gallery show earlier this summer here), he’s apparently also been making some new work in color. This image (from 2026) brings together a handful of Gordon’s signature construction techniques, including wrapped paper fruits, plants, and vases and misaligned shadow play, with swirled glass vessels making an appearance. Priced at $12000.
Almine Rech Gallery (here): Following up on her still life photographs made surrounding the 2024 elections in the United States (reviewed here), Taryn Simon has since turned her attention to President Trump’s executive orders. This 2026 image visualizes the Canadian response to various tariffs and political threats, as seen in empty American whiskey bottles and beer cans. Priced at $30000.
SECCI Gallery (here): This perplexing image by Andrea Galvani (from 2016) documents the moment a military jet breaks the sound barrier, capturing a split second of in-between scientific reality. Made while traveling in another jet side by side, the image makes the invisible boundary visible, the plane caught half way between sound and silence. Priced at $65000.
193 Gallery (here): This fresh for the Armory Show work by the Kenyan photographer Thandiwe Muriu titled “Mother Time” continues her boldly illusionistic fashion setups. With glasses made from plastic pliers, her sitter confidently dissolves into the swirling pattern that surrounds her. Priced at $21000.
Galerie Bernard Bouche (here): This 1968 photographic portfolio by Sigmar Polke brings together various diagrammatic arrangements (with hand drawn square borders on the mounts), several rephotographed drawings, and a witty conceptual illusion of a glass of spilled milk made with white paper. Lines and outlines connect most of the images into a conceptual flow. Priced at $56000 for the set of 8 prints.
Alisan Fine Arts (here): Yang Yongliang’s earlier work crafted imaginary landscapes reminiscent of ancient Chinese art using intricate digital collaging of architectural forms. After a recent move to New York, Yang has turned his attention to the raw material of our local architecture, rethinking urban bridgescapes with cascades of recognizable skyscrapers and apartment blocks like craggy mountains. This 2024 photograph is displayed against a lightbox, adding to its visual pop. Priced at $30000.
Poligrafa Obra Gráfica (here): Following up on his 2024 portfolio of artificial flowers made in the manner of antique bookplates (70 prints, in color, as seen here), Vik Muniz has continued his re-exploration of this elusive subject matter with another portfolio of images, this time in rich black-and-white. His results have the grace and precision of carefully controlled floral portraits, whose refined mood is then deliberately undermined by the fakeness of the specimens. Priced at $30000 for the set of 21 prints.
Southern Guild (here): This large scale photo-sculpture by Sandra Brewster was staged in the middle of the fair’s Platform section. Commissioned by the Toronto Biennial of Art in 2024, the work excavates black childhood memory, recounting versions of self via emulsion transfers on wood panels. (No prices in this display section.)
Wetterling Gallery (here): After showing a handful of Mike and Doug Starn’s new cloud landscapes last year at the Armory (here), the gallery returned with a full solo booth of new cloud works, as well as this monumental composition displayed near one of the fair entrances as part of the Armory Sculpture effort. The works continue to tap into the grandiose dramas found in stormy skies, seen with painterly photographic expressiveness and tactile construction. (No prices in this display section.)
