Roman Ondak, Typing the Picture, 2015. Typewriter keys, painted plywood, and a section of an easel. 79 x 56 x 12.5 cm. Photo: Courtesy the artist and gb agency, Paris.

Known for his elaborate, often performance-based conceptual art, Slovakian artist Roman Ondák (born 1966) has an array of suggestive assemblages displayed at gb agency's booth. Each object used within Typing the Picture was sourced from the artist's personal belongings.

Pablo Bronstein, Hollow Renaissance Edifice, 2016. Plywood and acid free paper. 62.5 x 27.5 x 21.2 in. Photo: Courtesy Herald St, London.

Born in Argentina and based in London, Pablo Bronstein (born 1977) turned his focus to Florence for his most recent series of works. In it, different re-imaginings of a single Renaissance-era mausoleum are projected on 3-D rectangles, with various patterns of ornamentation covering multiple stories, on top of the original mausoleum's single ground level structure. 

Evan Holloway, Everyone, 2015. Steel, Sculptamold, plaster, paint, and graphite. 72 x 18 x 45 in. Photo: Courtesy David Kordansky Gallery, Los Angeles.

Evan Holloway (born 1967) is a sculptor known for his colorful, semi-abstract works that frequently double as social commentary. Here, casts of faces are affixed to the ends of steel rods that radiate out, as though spokes on a wheel. 

DIS, Image Life, 2016. C-Print in Artist Frame, Winbot W830. 64 ½ x 50 ⅜ x 1 ½ in. Edition of 5 plus II AP. Photo: Courtesy of the artists and Project Native Informant, London.

For a show at Project Native Informant, the art collective DIS (founded 2010) created a series of uncanny photographs inspired by stock photography. In the gallery, and with the selection at Independent, a Winbot, a window-cleaning robot, is constantly cleaning the protective glass pane.  

Donna Huanca, To be titled, 2015. Oil and sublimation print on satin. 75 x 59 in. Photo: Trevor Good, ©Donna Huanca, Courtesy Peres Projects, Berlin.

With four widely acclaimed solo shows last year, including her first at Peres Projects, Donna Huanca (born 1980) continues to impress with her paintings, which blend bright colors and the female forms into a sensuous blur.

Jared Madere, Matter Harmonic Topiary, 2015. On right: Glyph for Matter Harmonic Topiary. Drawing with strawberry syrup, nails, blackberries, antifreeze salt, sand, sparklers, glitter, oil, and water. 13 x 9 in. On left: Untitled. Installation with salt, garlands, ink, water, antifreeze, sparklers, plastic, strawberry syrup, blackberry syrup, glitter, water, and flowers. Photo: Courtesy David Lewis, New York.

For an installation at David Lewis’s booth, Jared Madere (born 1986) improvised a work on paper, which he then used as the blueprint to create a sprawling floor sculpture that includes materials like salt, blueberry syrup, sparklers and antifreeze.

Liz Glynn, To Pound, 2016. Eleven 3-D printed gypsum and nylon elements in powder-coated steel toolbox. 36 x 22 x 4 in. Photo: © Liz Glynn. Courtesy Paula Cooper Gallery, New York.

Liz Glynn (born 1981), who frequently engages with economic history in her work, designed four mock toolboxes for her new series "Technological Toolboxes," all on view at Paula Cooper's booth; each contains pre-Industrial Revolution tools used to forge, cut, pump, and pound (pictured), respectively. 

Misaki Kawai, What Is Art?, 2016. Five color silkscreen prints on laser plywood. 12 x 12 in. Edition size: 100. Photo: Courtesy Printed Matter, New York.

Japanese artist Misaki Kawai (born 1978) is known for her cartoonish illustrations that often channel a Pop aesthetic, though sometimes hint at something more subversive. These figures are scattered in and around the booth for Printed Matter, through which she also has a book available. 

James Castle, Untitled ("Lucky Strike" book), no date. Color of unknown origin on handmade book with 14 pages including Lucky Strike package cover. 3 3/8 x 3 1/8 in. Photo: Clair Iltis, Courtesy Fleisher/Ollman, Philadelphia. 

One of very few outsider artists represented at Independent, James Castle (1899-1977) was a deaf man who lived out his life on his family's Idaho farm. Though he never learned to speak or write, he made art consistently with readily available materials, like soot and string. Here is a miniature book that he bound himself, using a Lucky Strike package for the cover. 

Julien Nguyen, Say Goodbye to Safe, 2016. Oil on panel, concrete frame. 36 x 48 in. Unique, signed and dated. Photo: Courtesy of the artist and Neue Alte Brücke, Frankfurt.

Creating compositions guided by classical architecture, and sprinkled with art historical and personal narrative elements, painter Julien Nguyen (born 1990) is a promising newcomer.