Betty Woodman, Aeolian Pyramid, 2001. Glazed earthenware, wood, paint, 150 x 168 x 100 inches. Image courtesy: the artist and Salon 94.
Betty Woodman takes ceramics, which have historically been relegated to craft, and makes them monumental. The pyramid form recalls some of history's greatest architectural achievements and likens her medium to strong, enduring building material.
Zilia Sánchez, Troyanas, políptico (Trojans, polyptych), 1999. Acrylic on stretched canvas two panels, 36 x 39 x 4 3/4 inches each © Zilia Sánchez. Courtesy Galerie Lelong, New York
At its Chelsea space, Galerie Lelong is currently presenting work by three female Cuban artists, including Zilia Sánchez. At the booth, the artist presents an off-kilter, geometric representation of female forms.
Mai-Thu Perret, Agoraphobia VI, 2016. Acrylic paint on synthetic carpet 94 1/2 x 71 1/2 x 1 inches. Photo courtesy of Annik Wetter
Mai-Thu Perret creates creepy Rorshach-esque blots that ooze into carpet. Whether you see a bug or an alien may or may not speak volumes about your psyche. The title, Agoraphobia, reads very ironically in the art fair setting.
Agnieszka Kurant, Currency Converter, 2016. Map of informal currencies, wood, steel, iron, plexiglass, various objects, 72 x 206 3/8 x 12 1/2 inches © Agnieszka Kurant. Image courtesy of the artist and Tanya Bonakdar Gallery, New York
Agnieszka Kurant's "Map of Informal Currencies:" includes Tide laundry detergent for the U.S.A., candy for Argentina, and bitter almonds for India. You'll rethink the values and commercial practices determined by geography.
Thomas Broomé, A Section of the Rainbow, 2016. 3D polymer, 75 x 30 x15 cm. Photo courtesy of Galleri Magnus Karlsson, Stockholm.
Thomas Broomé's work makes for an interesting comparison to Damien Hirst's medicine cabinets, which are on view at Gagosian a few booths over. Broomé paints and sculpts the containers you might find on your shelves, using words to describe their contents.
May Picture, after Paul Klee (Pictures of Pigment), 2016. Digital C-Print © Vik Muniz, courtesy of Sikkema Jenkins & Co., New York.
Vik Muniz merges art history and contemporary digital photography in two photographs of pigment (the other is titled "after Gerhard Richter"). His prints celebrate color and the different ways that two major painters used them.
The Erwin Wurm performances in front of the Lehmann Maupin booth on Wednesday and Thursday are perhaps the fair's most fleeting works. Every five to 10 minutes, a participant will pose for one minute according to Wurm's instructions.
Camille Henrot, Hi, ("Tropics of Love" series), 2015. Encre de Chine sur impression jet d'encre, 60 x 80 cm, © ADAGP Camille Henrot. Photo: Fabrice Seixas, courtesy of the artist and Kamel Mennour, Paris.
Camille Henrot's soft, cartoonish figures are immediately recognizable. In this work, she draws mythological creatures on top of a print in a cheeky, provocative way.
Felipe Ehrenberg, Give me libert, 1966-1967. Acrylic, rubber stamp on wood, 60 × 50 × 5 cm. Image courtesy of Baró Galeria
In the Spotlight section, the São Paulo-based Baró Galeria is presenting a solo show of work by Mexican artist Felipe Ehrenberg. He was one of the earliest performance and installation artists in Latin America and founded a press for the works of visual poets, conceptualists, and neo-Dadaists.
A colorful assortment of Moroccan rugs make CANADA's booth look like a foreign bazaar. Artist Katherine Bernhardt imports the carpets, which are also for sale. Check out her ongoing project, Magic Flying Carpets, which aims to spur production and maintain Berber women's weaving traditions.