The first stop of the day was James Richards at Hauser and Wirth's project space. The youngest artist at Hauser and Wirth is Jakub Julian Ziolkowski, at age 29; that doesn't put Richards, who is 26 and was recently featured in the New Museum's Younger Than Jesus show, so far out of the league of this bluer-than-blue chip gallery. His show here updates minimalist forms by using books that you can pick up an read as their constituent materials. The silver spine of A Woman in Your Own Right, Assertivenes and You advertised on its back cover, like so many works of art, as something that can "change your life." (LEFT: DAMIEN HIRST AT THE WALLACE COLLECTION IN LONDON. PHOTO BY MARY BARONE)

Life is the void for Anish Kapoor–such is the measure of success. Michael Govan, director of LACMA on a brief break from fundraising for the Tate openings (he's back in LA today), characterized the show as "quite a production." Indeed, in its most recent sculpture, Kapoor has computer programs drip cement in spirals and curls that invoke mind grindings and turds. The centerpoint is a train, shown previously in Nantes and Munich, that traverses the Royal Academy's longest stretch of arched doorways at an imperceptible slowness, pushing a bloody, fleshy mass of wax over the edges. In the catalogue, Norman Rosenthal likens it to the slow-burning terror; it reminded me of Hostel or some equivalent Japanese film. Elsewhere there is more yellow than the eye can possible bear, in the shape of a concave void. If all the exhibition doors were open, would you open the show with a giant, vagina-like wooden sculpture?  What kind of trauma has this man endured?

See our full Frieze diary–including dispatches on David Blandy, Ryan Gander, Damien Hirst, and more Anish Kapoor–on Art in America.