Tom Holmes, untitled Arrangement, 2014-2017. Oil, acrylic ink, and graphite on inkjet printed canvas, 174.5 x 93.75". Courtesy the artist and BUREAU, New York.


BUREAU presents the work of Tom Holmes, Erica Baum, Lionel Maunz, Patricia Treib, and Julia Rommel. Holmes's paintings continue his exploration of consumable products marketed towards children; one work, untitled Arrangement, spans 13 feet in width and features expressive lines over printed Eggo® waffle boxes. 

Allison Katz, Looser than Lucifer, 2016. Oil and acrylic on canvas, 57 x 47 1/8".  © Allison Katz. Courtesy the artist and The Approach, London.


The Approach brings together works by multiple artists, including new sculptures by Magali Reus and paintings by Allison Katz, in addition to works by Lisa Oppenheim, Sara VanDerBeek, Rezi van Lankveld, and Sara Barker. Katz's paintings, in particular, build on her debut exhibition at The Approach, which confronted "the mediated character of representation by highlighting the gaps between words and images ... through deceptively simple and engaging paintings."

Derrick Adams, Man in Forest Green, 2016. Mixed media collage on paper, 24 x 18". Courtesy the artist and Tilton Gallery, NY.


For his solo exhibition at Tilton Gallery's space, Derrick Adams expands his Deconstruction Worker series with collage portraits made using printed fabric, meant to appear simultaneously deconstructed and complete.

Jonathan Berger, Untitled (Century Tree) (detail), 2017. Tin and chalk. Photo: Courtesy the artist and JTT, New York.


Adams and Ollman and JTT Gallery share a space to present the work of four artists: Jonathan Berger, Charles Burchfield, Ellen Lesperance, and Conny Purtill. Berger's small sculptures, made of elementary materials like tin, chalk, and putty, are paired with large-scale paintings by Lesperance, nature studies by Burchfield, and graphite drawings by Purtill. Berger's work is on display within a central plinth; Untitled (Century Tree) depicts a small "century tree" rumored to bloom once every 100 years.

Katherine Bradford, Couple, Beach, 2016. Acrylic on canvas, 28 x 22". Photo: Jason Mandella. Courtesy the artist and CANADA.


Katherine Bradford shares intimate new paintings celebrating love and relationships in a solo presentation at CANADA's space. These works depict groups or pairs of figures (which are often found in her work)—specifically, swimmers, surfers, and bathers in vibrant abstract settings.

Tatiana Trouvé, Untitled, 2017. From the series Intranquility. Paper on canvas, 60 1/4 x 94 1/2 x 1 3/8". Copyright: Tatiana Trouvé / ADAGP, Paris & ARS, New York, 2017. Photo: Florian Kleinefenn. Courtesy the artist and Galerie Perrotin.


Galerie Perrotin presents a solo exhibition of three new drawings by Tatiana Trouvé from her two previously established series focusing on spirituality and melancholia, The unremembered and Intranquility. Exploring space, place, and memory, her work imagines new ways of experiencing of the present moment.

Barbara Bloom, Travel Poster (Planned Abandon), 1981. Archival digital print, 30 x 24". Courtesy the artist and David Lewis, New York.


David Lewis gallery presents Barbara Bloom's series Travel Posters: eight fake travel posters originally shown at Bloom's 1981 Planned Abandon installation in Westkunst, Cologne. The installation originally presented the setting of an elite tourism agency, and the posters possess a dark humor touching on subjects of trade, immigration, media, and surveillance. They are accompanied by Bloom's 1995 piece, Globe, which features a black chalkboard globe with no borders drawn onto its landmasses, and fading names in white chalk marking select countries. Both are explicitly relevant to today's discussions of globalism and immigration rights.

Juliana Huxtable, Untitled (ASSASSINS CREED I), 2016. C-Type print face mounted on glass, 30 x 45 x 1/4". Courtesy the artist and Project Native Informant, London.


Project Native Informant presents work that bridges the past and present, and examines the production of images related to queer and alternative sexualities. Hal Fischer prints made in 1979 meet two new prints by Juliana Huxtable, including Untitled (ASSASINS CREED I), and a new video installation by DIS.

David Shrigley, Problem in New York, 2016. Courtesy the artist and Diane Arques / ADAGP, Paris, 2016.


At Anton Kern Gallery's space, David Shrigley shows a new series of black-and-white drawings in addition to his Problem Guitars sculptures, which consist of functional guitars and drums that play unexpected sounds. (Prior to the fair's opening, Shrigley and Lee Ranaldo did a special performance using Problem Guitars—an unsurprising choice given the sense of humor and play in Shrigley's art.)

Daria Bajagić, I Know It's Sick But It's So Much Fun, 2016. Acrylic paint, canvas, and UV printed canvas, 71.26 x 84.65". Courtesy the artist and Carlos/Ishikawa, London, New Galerie, Paris.


Daria Bajagić shares new paintings at Carlos/Ishikawa's space that juxtapose images of missing girls and murder victims with text by an extremist anti-pedophilia campaigner, complicating binary readings of morality.