Art fairs once offered an accessible window into the art world, providing a glimpse of the latest in contemporary culture without the barriers of museum walls or curatorial narratives. For outsiders, these fairs felt like a rare chance to immerse themselves in a world typically obscured by insider dealings. But for those who are an integral part of the art world, know better. The politics, financial investments and social networks that these fairs are built on, have become an ecosystem in itself. As the global art calendar grows more cluttered—with fairs multiplying and running simultaneously across continents—the question is: What purpose do art fairs truly serve today? Have they outlived their relevance, or do they still hold an irreplaceable role in the art ecosystem?
Post-pandemic, many thought the endless cycle of fairs and events would slow down. Shipping art and flying collectors around the world felt like an outdated luxury—unsustainable for the environment and, let’s face it, exhausting for those who attend them all. Yet predictions of a change of pace remained just that; a hope for less but better has actually led to more. Afraid of missing out, many galleries continue to feel pressured to attend. And thus, the business behind these fairs continues, driven by a need for galleries to gain exposure and make vital sales—even as the costs to participate skyrocket. To ensure a return on investment, galleries tend to focus on works on the upper end of the market with many works pre-selling before the booths even open. It makes these fairs less and less appealing to emerging collectors, as it's impossible to acquire anything.
Despite the drawbacks, art fairs still serve as seasonal markers for the art world. Like fashion weeks, they offer a snapshot of trends and shifts in taste and offer a place for industry insiders to connect. But with the dominance of corporate franchises like Art Basel and Frieze, and the overwhelming number of fairs, is the art fair becoming less about fostering creativity and more about marketing to a wealthy, insider audience?
Hannah Hoffman founded her eponymous gallery in 2013. Born and raised in Dallas, Hoffman worked at Gavin Brown’s enterprise in New York before creating something of her own. The Los Angeles-based gallery has become known for supporting a cross-generational program of artists and estates who have been critical to the development of art in the twentieth and twenty-first centuries. Since its founding, Hannah Hoffman has presented and exposed numerous artists with a particular focus on feminist and conceptual practices including exhibitions by Olga Balema, Elaine Cameron-Weir, Tony Cokes, Ann Craven, Puppies Puppies (Jade Guanaro Kuriko-Olivo), Andy Robert, and Raphaela Simon. The gallery works with several prominent artist estates, notably presenting the first ever gallery exhibition in Los Angeles for American artist Paul Thek.
Lolita Cros is a Paris-born, New York-based independent curator, and art advisor. She develops emerging talents and pioneers established artists by creating dialogues between the two through conversations and exhibitions. Cros has exhibited works in major cities including New York, Los Angeles, Miami, Chicago, Paris, and London as well as more unconventional locations including a Chinese restaurant, a rooftop and a 26' truck. In 2016, she launched The Salon Series, a curated platform of artist talks she moderated with renowned figures such as Duane Michals, Peter Saul, Tina Barney, and Tschabalala Self. Between 2017 and 2020, Cros founded and ran The Salon at The Wing, a permanent exhibition space across all nine locations of the women's club. Over 180 artists, including Marilyn Minter, Jenny Holzer, and Senga Nengudi, were featured. Cros has curated for institutions like Sotheby’s, Brookfield, Paddle8, and the New York Academy of Art. Her expertise has been instrumental in shaping private and public collections, including Chanel, Brookfield, and, more recently, the California African American Museum.
Sarah Levine is a creative strategist and has worked in various senior roles in the art world, most recently at Pace Gallery where she was tasked with developing the gallery’s Curatorial & Artist Management division for its program of nearly 130 artists and estates. She is a regular on the art fair circuit — traveling the world in search of art, design and community.
Tatiana Cheneviere is the founding director of Pipeline, a contemporary art gallery in London. After spending seven years at Gagosian in New York and London,where she organized and curated independent pop-up exhibitions featuring collaboration with younger artists. Cheneviere quickly recognized the challenges young artists face in a fast-paced, digital culture. Through Pipeline, she offers a space that allows for deeper engagement with the aim to foster meaningful connections between artists and collectors.