Jesse Greenberg, Body Scan 6, 2015. Resin, pigment, and painted steel frame. 59 x 45.5 x 3.5 in. Photo courtesy of LOYAL Gallery, Stockholm.

Continuing his experiments with poured resin, Jesse Greenberg's "Body Scan" series attain various textures as they dry, through his use of gravity and materials like packing peanuts. With multiple pours of different colors, the effect is somewhere between biological and whimsical.

Monika Goetz, Dark Star, 2014/2015. Sparklers on wall. Variable dimensions. Photo courtesy of Schwarz Contemporary, Berlin.

German artist Monika Goetz created Dark Star for the second time at NADA. To install the piece, Goetz used 400 lit sparklers to trace the shape of the star, working on-site for eight hours.

LaKela Brown, I Make My Own Money Now, 2015. Gold leaf on plaster. Five-inch diameter. Photo courtesy of Jackie Klempay Gallery, Brooklyn.

As one of a series of coins cast with various materials by New York-based LaKela Brown, the title provides commentary on the art world's current fascination with her hometown, Detroit. The artist's profile appears on the coin, aesthetically channeling Renaissance medals and Roman coins, associating her image with political, monetary, and/or social power.

Lukas Geronimas, Custom Tub (1), 2015. Wood, plaster, primer, India ink, graphite powder, PVC, and fasteners. 30 x 60 x 32 in. Photo courtesy of David Petersen Gallery, Minneapolis.

With a background in carpentry, Lukas Geronimas creates recognizable objects from wood that are not necessarily functional, like this tub. Appearing as subtle indentations in the black paint, carvings are playful and blend multiple styles, stemming from a stream of consciousness.

Sandy Smith, (L) Untitled (Concrete, brass and silkscreen print), 2015. Concrete, brass, and unique silkscreen print. 39 x 2.5 x 5 in. (R) Untitled (Concrete, brass and steel). Concrete, brass, and unique steel. 39x 2.5x5 in. Photo courtesy of Space in Between Gallery, London.

Scotland-born, New York-based artist Sandy Smith created a series of works inspired by self-help books. A pattern of the word "IS" references repeated messages of acceptance; sheets of hand cut foam symbolically drown out the echoing of the word; concrete works add a dimension of stability. 

Sara Rahbar, Glory - 206 Bones, 2015. Mixed Media. 69.85 x 60.96 x 30.48 cm. Photo courtesy of Carbon 12 Gallery, Dubai.

Born in 1976 in Iran, but forced out with her family at a young age, Sara Rahbar recently began a series of assemblages, one of which is pictured here, incorporating tools and objects needed for human survival.

Lucky DeBellevue, installation view at New Art Dealers Alliance Art Fair 2015. (L) Untitled, 2014. Graphite and acrylic on wood veneer and wood, sticks. 4 x 13 x 7 in. (R) Untitled, 2014. Graphite on Wood, wood veneer. 7.5 x 7.5 x 3.2 in. Background: red etchings made with tempera. Photo courtesy of Kai Matsumiya Gallery, New York.

Last year, New York-based Lucky DeBellevue had his first solo show in New York since 2006 at Kai Matsumiya. The gallery has approximated it for their booth at NADA, which DeBellevue's signature red markings as the backdrop for his paintings and sculptures. The artist intends the installation to be a meditation on domesticity.

Bjørn Mortensen, Debris, 2014. Digital c-print. 65.20 x 44.80 x 2.70 in. Photo courtsey of Entrée Gallery, Bergen, Norway and New York.

Bjørn Mortensen is a Norwegian multimedia artist who often re-contextualizes the components of a whole for effect. This photograph of ceramic works makes the subtle textures colors of glazed surfaces more vivid.

Wendy White, Man Hands, 2015. Acrylic on synthetic rug. 96 x 144 in. Photo courtesy of Rawson Projects.

Known for her multimedia paintings, Wendy White's most recent series consists of rugs that play with textures and symbols while referencing manmade spaces and themes of marriage and home.

Josh Reames, fake egypt, 2015. Acrylic on canvas. 72 x 60 in. Photo courtesy of Johannes Vogt Gallery, New York.

The Dallas-born, Brooklyn-based painter Josh Reames has received attention lately for his chaotic, strange canvases, which evoke a space somewhere between cartoons and computer screens.