This year’s Frieze London and Frieze Masters drew an estimated 90,000 visitors from 108 countries, a figure that underlines London’s ongoing pull as a global meeting point for art, ideas and influence. The surge in attendance included record numbers of museum groups and international collectors, with many travelling specifically for the city’s concentrated week of exhibitions, openings and satellite events.
Celebrity sightings punctuated the aisles, from Madonna and Mick Jagger to David Hockney and Leonardo DiCaprio, joined by artists and cultural figures such as Sarah Snook, Arthur Jafa, Tessa Thompson, Lauren Halsey, Nick Cave, Antony Gormley, and Michaela Yearwood-Dan. Their presence offered a reminder of Frieze’s unusual alchemy — a space where high visibility meets critical depth, and where the art itself remains the central spectacle.
The opening hours were charged with momentum. Dealers reported a brisk pace of sales across both tents, with collectors moving decisively from early-career works in the Focus section to blue-chip offerings at Frieze Masters. That early confidence carried through the weekend, with reports of steady buying and strong institutional interest. The result was a fair that balanced commercial success with curatorial intent — a blend that has defined London’s Frieze since its inception.
Beyond transactions, there was an evident sense of renewal. Visitors remarked on the atmosphere — not simply busy, but genuinely animated, with artists, curators, and patrons engaging across generations and geographies. Many cited a shift away from last year’s guarded optimism toward a more grounded assurance: that London, for all its economic headwinds, continues to deliver a platform of international relevance.
The tone of the week extended beyond the fairgrounds. Gallery openings across Mayfair, Fitzrovia and the Southbank drew heavy crowds, feeding a sense of collective purpose. Conversations turned toward the evolving ecology of the art world — the role of mid-sized galleries, the responsibilities of institutions, and the new appetite for cross-disciplinary work. Frieze Week, as ever, became less about spectacle and more about continuity: the rhythm of artists and audiences returning, re-engaging, and recalibrating the field together.
By Sunday evening, the consensus was clear. Frieze London and Frieze Masters had not only delivered strong sales and attendance figures but reaffirmed something less quantifiable — the city’s capacity for cultural cohesion and creative vitality. In a year defined by flux and fatigue across many art markets, London’s edition stood out for its steadiness and tone. The fairs demonstrated that momentum need not always announce itself loudly; sometimes, as this year proved, it arrives through conviction, clarity, and the simple act of showing up.
REPORTED SALES
Across both Frieze London and Frieze Masters, galleries reported significant sales and sold-out booths throughout the fairs’ five-day run.
Gagosian sold out its solo booth of Lauren Halsey in the early hours of Frieze London’s opening day.
Hauser & Wirth reported numerous blue-chip sales at Frieze Masters, including a Gabriele Münter for CHF 2,400,000, a René Magritte for $1,600,000, a Paul Klee painting for €1,450,000, a Marcel Duchamp for $1,350,000, an Alina Szapocznikow for $1,200,000 and a Jack Whitten for $750,000. The gallery further placed works by Louise Borgeois, Man Ray, Alberto Giacometti, Meret Oppenheim, Francis Picabia, Sonia Delaunay, Hans Arp and Hans Emmenegger. Sales continued at Frieze London, including an Ellen Gallagher for $950,000 and an Avery Singer for $800,000. Paintings by Henry Taylor and Keith Tyson sold for $300,000 apiece, while a George Rouy painting went for $275,000. Further works placed included an Angel Otero for $285,000, a Lee Bul for $260,000 and a Takesada Matsutani for $250,000. George Condo’s Head Composition (2025) was placed with a French private collection for $200,000, while Cindy Sherman’s Untitled #650 (2023) sold for $200,000, an Anj Smith for $170,000 and a Lorna Simpson for $150,000.
Also at Frieze Masters, Vito Schnabel Gallery placed a Jean-Michel Basquiat & Andy Warhol painting for $6,000,000, a Julian Schnabel for $385,000, two Ron Gorchov paintings for $350,000 and $125,000, a Man Ray watercolour for $350,000, a Francis Picabia for $275,000 and a George Condo for $85,000. Waddington Custot placed a Pierre Soulages for £1,350,000, two large bronze sculptures by Barry Flanagan for $1,300,000 and £360,000, a Eugène Boudin painting for £390,000 and three Jean Dubuffet works on paper for £14,000 apiece. Robilant+Voena sold three Lucio Fontanas for €1,600,000, €895,000 and €200,000.
David Zwirner achieved great success at Frieze London, making multiple sales including placing a Chris Ofili for $700,000, a painting by Steven Shearer for $550,000, a painting by Victor Man, two paintings by Lucas Arruda in the $320,000 to $350,000 range, a work on paper by Elizabeth Peyton for $300,000, a work on paper by Lisa Yuskavage for $180,000, two works by Wolfgang Tillmans in the $115,000 to $250,000 range, three works on paper by Kerry James Marshall for $65,000 apiece, two works by Christopher Williams in the $45,000-$50,000 range, two works on paper by Huma Bhabha for $45,000 each, a painting by Sosa Joseph for $35,000 and four paintings by Frank Walter for $18,000 each.
White Cube also reported strong sales, including an Antony Gormley for £850,000, two Tracey Emin works for £425,000 and £95,000, a Shao Fan ink on rice paper for $350,000, two Cai Guo-Qiang pieces for $280,000 and $195,000, nine Marguerite Humeau pieces in the £40,000-£200,000 range, a Howardena Pindell for $150,000, two Sara Flores canvases for $70,000-$115,000, a Harland Miller work on paper for £120,000 and a Tunji Adeniyi-Jones painting for $90,000.
Pace Gallery sold eight works from their solo presentation of William Monk at Frieze London to prominent private collectors across Asia and Europe in the range of $30,000 to $295,000. In contrast, at Frieze Masters, the gallery’s solo presentation of Peter Hujar’s backstage portraits from 1970s and ’80s New York also achieved strong sales, with six works placed with collectors across Europe and the United States, in the $25,000- $45,000 range.
Lisson Gallery’s sales included a monumental tapestry by Otobong Nkanga for $600,000 and a Ryan Gander sculpture for £85,000. Sprüth Magers placed a George Condo for $600,000 to a private collection in Europe, a Gala Porras-Kim for $100,000, a Henni Alftan work to a private collection in Europe, a Rosemarie Trockel to a private US collection, multiple works by Gary Hume to a private collection in Europe for $90,000 each, as well as works by John Baldessari to a private collection in the US, Pamela Rosenkranz to a private collection in Europe and 21 works by Marcel Van Eeden.
Lehmann Maupin reported selling over fifteen works by Korean artist Do Ho Suh after significant attention from collectors. At the same time, Karma also saw success, placing a Manoucher Yektai painting for $475,000, a Reggie. Burrows Hodges for $350,000, a Gertrude Abercrombie for $225,000, an Ann Craven and a Jane Dickson for $75,000 each.
James Cohan placed numerous pieces, including two by Monir Shahroudy Farmanfarmaian for $650,000 and $300,000, a Josiah McElheny for $185,000 and several paintings by Naudline Pierre and Eamon Ore-Giron in the $65,000-$120,000 and $75,000-$100,000 respectively. Tina Kim Gallery had a strong fair, selling numerous artworks, including a painting by Ha Chong-Hyun for $550,000, a Kim Tschang Yeul painting for $300,000, two paintings by Kibong Rhee for $100,000 and $80,000, a Suki Seokyeong Kang multimedia work for $75,000 and a textile work by Lee ShinJa for $70,000.
Kukje Gallery also sold a variety of works, including three Ha Chong-Hyun paintings in the range of $230,000-$468,000, a Kibong Rhee in the $90,000-$108,000 range, a Julian Opie for £65,000-£78,000, and two Kyungah Ham works in the $35,000-$72,000 range.
Olney Gleason sold works including a Robert Indiana for $200,000, an oil on linen by Ali Banisadr for $95,000 and a Diana Al-Hadid for $90,000. Stephen Friedman gallery saw significant interest in their paintings by Sarah Ball, including sales to significant UK museum collections, in the range of £15,000-£150,000.
Nature Morte sold a Subodh Gupta painting for €200,000, while Timothy Taylor sold out its presentation of Daniel Crews-Chubb by the end of the Fair, including seven paintings ranging from £70,000-£95,000 and two sculptures at £65,000 each.
Peter Blum Gallery sold five paintings by Rebecca Ward for a total of $125,000. Carl Freedman Gallery placed numerous works, including two by Billy Childish, at £70,000 and £40,000. i8 Gallery sold an Alicja Kwade for $75,000. First time participants Southern Guild sold works including a Zizipho Poswa for $90,000, five Zanele Muholi works ranging $22,000-$90,0000, and three Roméo Mivekannin works ranging $50,000-$70,000.
Alison Jacques sold multiple works across all five days of the Fair, ranging from $10,000-$100,000.
The Pit sold out most of their booth, placing all their works by LA-based artist Jennifer King and multiple pieces by Maryam Yousef to a mixture of buyers from the US and UK.
Back at Frieze Masters, Ben Brown Fine Arts placed a Lucio Fontana and a work by the duo Claude Lalanne and Francois-Xavier Lalanne, with prices ranging from $300,000 to $800,000. Salon 94 and Karma placed Mirdidingkingathi Juwarnda Sally Gabori’s Dibirdibi Country for $800,000. Ben Hunter sold pieces to new clients, including a Frank Auerbach painting priced in the region of £750,000 and a Victor Pasmore relief in the area of £220,000. Larkin Erdmann also found success with a Marcel Duchamp for €650,000, an Alberto Giacometti for €190,000, an Antonio Calderara for €75,000 and an Alighiero Boetti for €85,000, while Annely Juda Fine Art placed a Friedrich Vordemberge-Gildewart painting in a private collection for £400,000. Schoelkopf Gallery reported selling numerous works by Andrew Wyeth, ranging $40,000 to $395,000.
A strong result was also reported by Maruani Mercier, with works by major artists of the 20th century sold including Salvador Dalí, Max Ernst and Francis Picabia in the €200,000-€300,000 range; Johnny Van Haeften with three Old Masters paintings including The Passion of Christ by Frans Francken the Younger in interest in their Gina Kuschke pieces, including a sale to a major museum. Kalfayan Galleries sold numerous works in the €4,000-€80,000 range, while Hales placed several pieces, including a Hew Locke, in the £25,000-£75,000 range. Galerie Nordenhake with four Spencer Finch works for a total of $280,000, and a Meuser for £50,000.
The region of £300,000; Galerie Minsky placed numerous works in a range of €15,000-€250,000 and Piano Nobile sold Walter Sickert’s Le Journal for £250,000, a glazed earthenware pot by Grayson Perry for £225,000, a Michael Andrews in the range of £200,000, as well as pieces by Paula Rego, Frank Auerbach, Michael Andrews and Barbara Hepworth, including one for a seven-figure sum.
Ancient artefacts and historical objects were another big draw, with David Aaron having placed a Sabre Cat ‘Nimravidae’ Skeleton circa 33.7 to 23.8 million years ago to a private collector for a significant six-figure sum and a triceratops skull for £650,000. Galerie Léage sold a chest of drawers stamped by François Mondon and made circa 1770 in the €300,000-€500,000 range and a pair of Gustavian armchairs ranging between €50,000-€100,000. Rupert Wace reported having the best opening day yet at Frieze Masters with numerous six-figure sales, and Carlton Rochell Asian Art found success with sales, including a Terracotta Head of a Goddess (circa 6th century) with an asking price of $250,000. Elliot Davies Fine Art reported the sale of a 4th-century BC Anthemion Stele for £85,000. At the same time, Rasti Fine Art placed a chicken bone jade sculpture with a private collector for approximately $50,000, and Kallos Gallery sold an ancient Egyptian sculpture for approximately £20,000.
Other galleries that found success included D’Lan Contemporary, selling six works by Makinti Napanangka for between $39,000 $182,000 and three works by Naata Nungurrayi for between $91,000-$182,000, both record prices for the artists. DAG sold several pieces from J. Sultan Ali for $91,000, while Harper’s placed two Iria Leino works for $60,000 and $68,000, respectively. Charles Ede reported selling almost 40 pieces, with works ranging up to £75,000 and Colnaghi and Elliott Fine Art sold 14 works, including a Mollie Faustman painting for around £50,000. Bastian Gallery sold a Cy Twombly photograph for €40,000, and Inman Gallery placed two paintings by Dorothy Antoinette LaSelle, one with a private European collector and one with an American institution, for $75,000 and $85,000, respectively.
Both Frieze London and Frieze Masters also saw sales across the curated sections. In the Frieze Masters’ Spotlight section, Lawrie Shabibi reported strong sales, including an acquisition of Mona Saudi’s Mother/Earth (1981) from a major museum in Asia for $280,000, a Jordanian Limestone sculpture for $168,000, and an Iranian Travertine work for $70,000.
Richard Saltoun sold two pieces by Bertina Lopes, priced between £65,000 and £85,000, while Berry Campbell reported that 12 pieces in their solo presentation by Janice Biala were sold, with prices ranging from $18,000 to $55,000. 10 A.M. ART reported selling five works from Italian artist Marina Apollonio, ranging from €8,500 to €32,000.
Stephen Friedman Gallery sold out of their presentation of new paintings by Anne Rothenstein in the Studio section of Frieze Masters, ranging from £40,000-£75,000 for paintings, and £7,000-£15,000 for collage works. Vadehra Art Gallery sold all new paintings by Anju Dodiya priced at $50,000.
In Reflections, AGO Projects sold four works in the range of $30,000, while Vagabond Antiques sold numerous pieces, including Broccatello Di Siena marble tiles for £24,000 and a set of ‘Sorcerers Stones’ for £14,500.
At Frieze London’s Focus section, El Apartamento sold out its presentation of artists Ariamna Contino and Alex Hernández during the Fair’s opening day, ranging $6,000-$55,000, and Brunette Coleman sold out its solo booth of Emma Rose Schwarz, ranging £7,000-£25,000. Ginny on Frederick and King’s Leap also sold out their solo booth of Alex Margo Arden and Michelle Uckotter, respectively. Harlesden High Street also found success, selling out its Toby Cato booth in the £6,000-£19,000 range. Gathering placed the majority of available works by Christelle Oyiri, ranging from £2,000 to £20,000. Bombon sold three medium sculptures by Lara Fluxà in the €7,000-€8,000 range, and Public Gallery sold seven works by Xin Liu, achieving prices between £5,000-£15,000. Two of the works were acquired by institutions, including The Twins of One Body.
(2025). Gypsum sold both hand-stitched tapestries by Marianne Fahmy to London and Turkish-based collections, each at €15,000. Eli Kerr placed most of their Marlon Kroll works, priced between £3,000 and £7,000, and Hot Wheels sold out the majority of their booth, with each piece priced at £16,000. Cylinder placed a Rim Park mixed-media sculpture for $13,600.
Showing in Echoes in the Present, Fortes D’Aloia & Gabriel sold a significant number of Tadáskía works at $45,000 each, and Nara Roesler placed five notable works by Brazilian artist Alberto Pitta, ranging $10,000- $20,000. Tafeta placed works, including five drawings by Bunmi Agusto, with Dutch collectors of contemporary African Art and a London-based Nigerian collector, priced at £4,000 and £12,000, and Galerie Atiss Dakar sold a wooden sculpture and a work on paper by Serigne Mbaye Camara, both for $9,000.
Once again, Artist-to-Artist was a significant success story, with kurimanzutto selling out their booth of Ana Segovia with works priced between $25,000-$60,000. In contrast, Company Gallery sold out of its presentation of Katherine Hubbard. Gallery Maskara placed works by T. Venkanna in a £4,000-£120,000 range, some of which went to institutional collectors, including Yan Du Projects.
Frieze London and Frieze Masters 2025 also saw the launch of the Gallery Climate Coalition (GCC) ‘s ‘10% Of’, a fundraising initiative with numerous galleries participating. As part of the scheme, major placements were made, including Hauser & Wirth’s Allison Katz for $45,000 and Pippy Houldsworth Gallery’s Nengi Omuku for $40,000.
ACQUISITIONS AND PRIZES
Multiple prizes and acquisitions were made during the Fair, as part of Frieze’s longstanding commitment to supporting the broader arts ecosystem in the UK:
● The Frieze Tate Fund, worth £150,000, made possible the acquisitions of two works by Lubna Chowdhary (Jhaveri Contemporary) and Barbara Walker (Victoria Miro) for the museum’s permanent collection. The museum additionally acquired a Madge Gill (The Museum of Everything is a promised gift from Lance Uggla to the Tate’s collection.
● The Arts Council Collection acquired work by Alex Margo Arden from Ginny on Frederick, Vanessa Raw from Carl Freedman Gallery, Liorah Tchiprout from Pippy Houldsworth Gallery, Sarah Ball from Stephen Friedman Gallery and Olu Ogunnaike from Hollybush Gardens.
● The Contemporary Arts Society Collections Fund has acquired two significant works by Shaqúelle Whyte and Michael Landy for The Walker Art Gallery in Liverpool.
● Spirit Now London supported The National Portrait Gallery by acquiring portraits or self-portraits by women artists, including Stella Snead at Richard Saltoun and Madge Gill at The Gallery of Everything
● Bogdan Ablozhnyy, showing in Frieze London’s Focus section with a.SQUIRE, was announced as the recipient of the Camden Art Centre Emerging Artist Prize.
● Alex Margo Arden was awarded the inaugural Nicoletta Fiorucci Foundation Prize
● The Frieze London Stand Prize winner is Modern Art, with special mention going to Taka Ishii and Project 88
● Daiga Grantina, showing in Frieze London with Emalin, was awarded the FLUXUS-CPGA Prize, which supports and platforms French talent internationally.
Freddie Powell, Founder, Ginny on Frederick commented: ‘We’re thrilled and truly honoured that Alex Margo Arden has been named the first recipient of the Nicoletta Fiorucci Foundation Prize. Nicoletta’s support for Alex’s practice at this time, and her dedication to nurturing the London contemporary art scene, are truly invaluable. We can’t wait to see what Alex will create for the Nicoletta Fiorucci Foundation’s Library.’
Nicoletta Fiorucci, Founder, Nicoletta Fiorucci Foundation said: ‘We are thrilled to inaugurate the first edition of the Nicoletta Fiorucci Foundation Prize with Alex Margo Arden whose practice fully embodies the radical ethos of experimentation and research we have always encouraged and supported, a spirit also shared by Hans Ulrich Obrist and Lydia Ourahmane, which we have been honoured to collaborate with as Jurors. Art has always evolved through acts of rupture — by artists who take risks with approaches and media that question their time and context. The Nicoletta Fiorucci Foundation Prize honours that spirit. Through it, I also wish to remind us, as collectors, that artistic expression takes many forms and to give value to works that are often overlooked or challenging. Alex represents the new generation of artists in London who are carving out our future. We can’t wait to welcome and work with her at the Foundation.’
Polly Staple, Independent Curator; Natasha Ginwala, Artistic Director, COLOMBOSCOPE; and Mohamed Almusibli, Director and Curator, Kunsthalle Basel, said about the Frieze Stand Prize: “The jury was very pleased to recognise practices shared with deliberation and sensitivity, creating distinct atmospheres on each booth. With strong installation choices, you recognise the depth and quality of the individual works. We all need moments of intimacy and sensuous attention in this time of calamity and distress. The prize and special mentions highlight a London-based gallery, as well as two galleries from further afield, Tokyo and Mumbai. Each bringing commitment to Frieze as a space of communality and strong representation of diverse artistic visions.”
Anya Harrison, Curator at MO.CO Montepellier Contemporain; Linsey Young, Independent Curator; and Poppy Bowers, Senior Curator (Exhibitions) at the Whitworth, The University of Manchester, said about the Frieze Focus Stand Prize: “We were particularly impressed by King’s Leap and Michelle Uckotter’s approach to dystopian storytelling, concealment and intimacy and their imaginative use of the fair environment.”
CURATOR PROGRAMMES
Frieze London and Masters 2025 offered several significant programmes for emerging curators. These included the Frieze Masters Art Fund Curator Programme in partnership with The National Gallery, which offered fully funded places for seven international and eleven UK-based museum curators. The Frieze x Deutsche Bank Emerging Curators Fellowship, now in its fifth edition, supports early-career Black and global majority heritage curators across the UK with a 12-month, paid placement in a UK institution. This year, MIMA, Middlesbrough Institute of Modern Art, will receive a £45,000 grant covering salary, travel, and research for their fellow, to be announced in November. The Breeze Curator Travel Grant 2025, in partnership with the Instituto Guimarães Rosa and the Embassy of Brazil in London, supported five Brazil-based curators to join this year’s Frieze London and Frieze Masters, part of the UK/Brazil Season of Culture 2025–26. The CVAN and London Gallery Weekend Curators Opportunity saw 30 contemporary art curators across England attend Frieze London, with 20 spaces specifically allocated to regional curators.
COMMUNITY TICKET INITIATIVES AND DONATIONS
Frieze provides over 1000 complimentary tickets for non-profits, schools, educational groups and community networks. Organisations and individuals attending Frieze London and Masters 2025 include: Artbox, a social enterprise collaborating with learning disabled and autistic artists; KindheART charity, which offers cultural experiences to young people across London; mentors and mentees from prison arts therapy charity Koestler Arts; volunteers from South East London Mind, the national mental health charity; emerging and early career artists working with New Contemporaries; Social Fixt, a network offering routes for POC into the creative industries; representatives from the Women of Colour Global Network; Shape Arts, a disability-led arts organisation which works to improve access to culture for disabled people; Tate’s BAME network for staff across the organisation; alternative art school Turps; V&A East Youth Collective, a programme for young people living, working and studying across east London; Working Arts Club, a community for professionals
in the visual arts from working class backgrounds; Working Class Creatives Database, an arts organisation confronting class-based issues within creative industries; and schools across London, including Richmond University, Stoke Newington School and Sixth Form and Kingston School of Art, plus student groups organised by the Art History Association from Kingsdale School, Harris Westminster Sixth Form and The West London Free School.
Tina Kim, Founder, Tina Kim Gallery: ‘This year’s Frieze London was a success. The Fair was well attended, with strong curator interest throughout the week, and we are now in active acquisition discussions with a museum in Asia. We also experienced solid sales, placing works with significant collectors from the United States, Asia, and Europe.’
Mohammed Hafiz, Co-Founder, ATHR Gallery: ‘We have been absolutely thrilled with our return to Frieze London this year and impressed by the strong turnout of engaged collectors. 2025 has been a year of continued growth for Saudi Arabia as it continues to establish itself as a major player in international arts and culture through new initiatives. At this juncture, it is critical to continue elevating the reputation of Saudi artists on a global scale. ATHR Gallery’s presentation at Frieze London with works by Saudi female artists Danish Alsaleh and Basmah Felemban reflected Saudi Arabia as a nation that is ever evolving while evaluating its history amidst rapid modernisation. The engagement from visitors to the booth has been
outstanding, and we have had meaningful conversations throughout the week — a clear indication of the strength of artists from the region, as well as the impressive audience visiting Frieze London.’
Alison Jacques, Founder, Alison Jacques: ‘The fair this year has been extremely international. There’s a real energy and buzz which we haven’t seen in the last few years. The new layout is really making a difference. It’s very clear that the market in London is very buoyant.’
Peter Blum, Founder, Peter Blum Gallery: ‘London has long been a crossroads of artistic exchange — rooted in history yet vital to contemporary discourse. Frieze builds on that legacy, offering galleries like ours a platform to engage globally and meaningfully. This year, we are eager to see how that legacy translates to current markets and how the Fair sets up the tone for the year to come.’ Very satisfied with the results, and we definitely hope to be back for next year’s edition.’
Aryen Hoekstra, Director, Franz Kaka: ‘The energy at the fair this year is fantastic, and the audience feels deeply interested and engaged. The institutional presence is powerful.’
Alex Flick, Founder, Gathering: ‘We’re delighted to be participating in Frieze London for the first time this year. Gathering began its journey here in London, so it was important for us to make an impression with our debut presentation at the Fair. Christelle has already been warmly embraced by the city, having unveiled her Infinities Commission at Tate Modern earlier this year, so the response to the booth has been incredible.’
Jonny Tanna, Founder, Harlesden High Street: ‘This year’s Frieze has been phenomenal. They pulled out all the stops for us, and sales have been incredible, with a celebrity-filled week and sales to public figures. We couldn’t have asked for more!’
Niru Ratnam, Founder, Niru Ratnam: ‘We’ve been really pleased with the level of curatorial, critical and institutional engagement with Eunjo Lee’s work. It’s really great to see a good mix of collectors, curators and general visitors at the Fair.’
Amrita Jhaveri, Founder, Jhaveri Contemporary: ‘We have been energised by both Frieze fairs this year. Great American and international institutions are encountering the work of Novera Ahmed for the first time at our presentation in Frieze Masters, opening up meaningful conversations. Tate acquired a landmark work by Lubna Chowdhary from the contemporary fair — it pays off to bring ambitious works to Frieze London.’
Antonia Marsh, Founder, Soft Opening: ‘Our graduation into the main section this year, not to mention our frontal position in the Fair, made the week feel like a real celebration of the gallery and our artists. We couldn’t be prouder.’
Vito Schnabel, Owner, Vito Schnabel Gallery: ‘Thrilled to be part of this dynamic and inspiring fair in London, surrounded by an incredible depth of expertise and appreciation. Frieze Masters has always been one of my favourite fairs.’
Christian Gundin, Director, El Apartamento: ‘Since the opening day of the Fair, the vibe was incredible, we engaged with a whole fresh audience, and in just hours, all the works were sold to new European private
collectors. We also received the visits of many international curators and institutions, who asked for information about the artists for consideration for upcoming group shows and also art residencies. This year, the traffic has been heavy at our booth, and the visitors have interacted a lot with our presentation. We are Aparajita Jain, Executive Director, Nature Morte: ‘Frieze London is a vital part of Nature Morte’s global strategy in championing the work of South Asian artists. This year, the Fair has signalled more growth and an increased reception for South Asian art.’
Lucy Liu, Partner, Uffner & Liu: ‘As the bridge between the US, Europe, and Asia, London will always be a node of connection and serve as an essential hub in the art world. We’re thrilled to return to Frieze London after our last participation in 2022. It’s a meaningful moment for us to reconnect with our European audience and reaffirm our commitment to the region.’
Lisa Carlson, Senior Director, Jane Lombard Gallery: ‘London’s art landscape feels especially dynamic this year. There’s a renewed sense of curiosity among international audiences, and a desire to engage with ideas that feel urgent and thought-provoking. For us, participating in Frieze London for the first time is an opportunity to be part of that momentum — to highlight artists whose practices bridge histories, geographies, and generations.’
Daniel Roesler, Partner and Senior Director, Nara Roesler: ‘We are delighted to return to Frieze London in Echoes in the Present with Alberto Pitta. Jareh Das’s curation has drawn influential collectors and curators to our booth and special presentation of Pitta’s suspended archival printed fabrics during such a monumental time in the artist’s career.’
Costas Paraskevaides, Director, ArtAncient: ‘We’re delighted. We’ve seen a notable increase in curators this year. It’s good to see museums coming to Frieze Masters. We are happy to share that they have multiple museum reservations for works.’
Harry Hutchison, Director, Aicon: ‘We are delighted to see the increased and fresh interest in South Asian art at Frieze Masters this year. It’s been a great fair for us, and we look forward to returning.’
Joe Chaffer, Director, Vagabond Antiques: ‘What started as quite a challenging brief to curate after the master John Soane actually turned out to be the most enjoyable fair we have participated in, where we have managed to focus on objects and works of art. The response to that in terms of sales and interest has been enormous. Reflections has worked really well.’
Larkin Erdmann, Founder, Larkin Erdmann: ‘Our presentation at Frieze Masters 2025 exceeded expectations — a vibrant mix of new collectors, significant placements, and inspiring conversations in our new location.’
Melanie Cameron, Senior Director, Gallery Wendi Norris: ‘This year was no exception to the usually high standards Frieze Masters sets for both itself and other major fairs, which was reinforced by the great attendance and constant stream of visitors to our booth. Beyond the typically exceptional, high-quality artwork on display at this Fair, we were also especially impressed with the networks that Frieze’s VIP team engaged throughout the week, helping us to both strengthen old ties and forge new connections with many of the world’s top collectors and curators.’
Will Elliott, Founder, Elliott Fine Art: ‘There has been a great energy at Frieze Masters and most sales have been to clients based in London, giving us a renewed sense of optimism for the UK market.’
Christine Berry and Martha Campbell, Owners, Berry Campbell Gallery: ‘Collectors continue to be impressed by the curatorial strength of Frieze Masters. The Spotlight section is always overflowing with visitors. People like to learn about new artists through well-thought-out presentations. Sales were the strongest we’ve had in the past three years.’
Jorg Grimm, Founder, Grimm Gallery: ‘Frieze London is always a favourite, for both the gallery and its artists. No other place has so many great artists attending the Fair in what is often their home town, and where new works on display are discussed among peers, in addition to the amazing collectors and institutional network London provides.’
Cecilia Brunson, Founder, Cecilia Brunson Projects: ‘It has been an extraordinary year for Cecilia Brunson Projects at Frieze London — our first time participating in the Fair’s main section, and we were thrilled to sell out most of the booth within the first hour. Our solo presentation of intricate textiles by the Indigenous Argentinian collective Claudia Alarcón & Silät — a group of over 100 women working across generations — resonated deeply with collectors from Singapore, Europe and North America. Many were encountering the work and the gallery programme for the first time. The strong appetite for quality has been incredibly encouraging.’
Alana Ricca, Managing Director, Schoelkopf Gallery: ‘We were delighted to return to Frieze Masters for the 2025 edition of the fair, and even more pleased with the response to Andrew Wyeth’s work in London, which is such a testament to Wyeth’s growing appreciation internationally. Frieze Masters is a real connoisseur’s Fair, and it presents a fantastic opportunity for audiences to engage with Wyeth’s work across media. Equally exciting to us are the new relationships that form as a result of our participation here.’
Jaewoo Choi, Director, Johyun Gallery: ‘Taking part in Frieze London this year allowed us to share our program through a thoughtfully curated presentation. Following Lee Bae’s solo presentation last year, it was significant to introduce artist Taeksang Kim, who joined the gallery earlier this year, to London audiences and to see such a positive response from the European art scene. At Frieze Masters, we focused on Park Seo-Bo’s early Primordialis and Ecriture works, accompanied by related studies, which drew strong interest from visitors. Through both presentations, we hoped to reflect the depth and evolution of Korean abstract painting from our gallery’s perspective.’
Luke Scholes, Director and Vanessa Merlino, Head of Research, D’Lan Contemporary: ‘It has been a pleasure to return to Frieze Masters, London, for our third consecutive year and an honour to present the work of two pioneering women artists from the Western Desert, Makinti Napanangka (c. 1920 – 2011) and Naata Nungurrayi (c. 1932 – 2021). We have been overwhelmed by the response, with eight of 11 works sold, and a new record set for each of these important artists. The energy in London, and the awareness and appreciation for First Nations art at the Fair, no doubt buoyed by the major retrospective of Emily Kame Kngwarray’s work currently on view at Tate Modern. We look forward to returning in 2026, and to further expanding awareness of and appreciation for Australian First Nations art and artists.’
Fabrizio Padovani, Owner, P420: ‘This year we found the edition of Frieze London particularly lively and energetic. The new layout seems to have worked well, as did the excellent job done by the VIP department in bringing a high-quality audience throughout all the days of the Fair. We received positive feedback on all the artists presented, both in terms of sales and professional encounters. Shafei Xia, Francis Offman, and
Adelaide Cioni once again proved to be very well received by the Frieze London audience. There was also great feedback for Riccardo Baruzzi’s new series of works and for Alessandro Pessoli’s acetate pieces. Works by more established artists such as Laura Grisi and Irma Blank also attracted significant interest. We are very pleased that many works have entered important international collections and institutions.’
Adam D. Miller, Co-Owner, The Pit: ‘We’re thrilled with our first time at Frieze London. Sales were high, we were able to meet a lot of new collectors and institutional curators, and sold work to new clients in addition to spending time with established ones. The fair felt energetic with large crowds in attendance every day. The Fair’s VIP team did a great job bringing groups of people through the booth and helping to facilitate introductions. We really felt supported by Frieze and are thankful to have been included. In consideration of recent market reports, it felt like a vibrant moment, hopefully pointing to stronger times.’
Eli Kerr, Founder, Galerie Eli Kerr: ‘We are pleased with our first presentation at Frieze London. The energy and enthusiasm were strong each day. Beyond making numerous sales to new clients from London and around the world, we also made new institutional contacts who’ve taken an interest in our program.’
Trevyn McGowan, Co-Founder, Southern Guild: ‘This is the third Frieze fair we have shown at this year, with each successive edition being better than the last. This was our debut presentation at Frieze London, and sales were robust for us, even better than we had anticipated, with opportunities to connect with new collectors in England and Europe in particular. We are really thrilled at the outcome and connections we have made and look forward to it becoming a staple in our calendar.’
Leopold Thun, Co-Founder, Emalin: ‘This year, Frieze felt more than ever like a fair that carried through the whole week, with steady attendance from collectors and curators each day. You could sense Eva Langret’s thoughtful direction, her continued effort to make the experience better for both visitors and galleries. London showed up for the occasion, and Frieze matched that energy.’
Hyun-Sook Lee, Chairwoman and President, Kukje Gallery: ‘This year’s Frieze London unfolded in a composed and measured atmosphere, yet, true to its status as the Fair’s home ground, it once again attracted collectors, institutional representatives, and art enthusiasts from across the globe. It was encouraging to witness the sustained interest and affection for Korean art. The consistent sales of works by our artists — Ha
Chong-Hyun, Kim Yun Shin, Kibong Rhee, Park Chan-kyong, Lee Kwang-Ho, Kyungah Ham, Heejoon Lee, and Seeun Kim reaffirm the unique position that Korean artists continue to hold within the international art market. We are delighted that Kukje Gallery remains a steadfast presence within this vibrant contemporary art scene, and we look forward to returning to Frieze London next year.’
Nicholas Olney and Eric Gleason, Co-Founders, Olney Gleason: ‘Frieze London has been the first public outing for Olney Gleason ahead of the gallery’s opening in New York later this month, and we couldn’t have asked for a better platform for our debut. The strength of the international collector base and the Fair’s efforts in developing regional institutional leads have been impressive. It’s been a week of robust sales and many new opportunities developed.’
Ben Hunter, Founder, Ben Hunter Gallery: ‘Frieze Week has been really energetic, with lots of international visitors and museum curators in town, testament to the exceptional quality of institutional and private gallery exhibitions in London. We were delighted with the Fair and sold multiple works to new and existing clients from the booth and our gallery.’
Patrick Williams, Director, Adam Williams Fine Art: ‘We thought the Fair was a fascinating place to exhibit. Adam Williams Fine Art found the fair to be vibrant and buzzing with energy and engagement, particularly from a younger crowd of emerging collectors with enthusiasm for Old Master Paintings. Looking forward to next year’s edition.’
ATTENDEES
Both Frieze London and Frieze Masters saw a strong presence of international collectors including: Armando Abounce, Shane Ackroyd, Mohammed Afkhami, Kyveli Alexiou, León Amitai, Tiqui Atencio, Carol Asscher, Laurent Asscher, Magda Baltoyanni, Allison Berg, Raimund Berthold, Ivor Braka, Eli Bronfman, Anastasia Bukhman, Lady Sarah Chatto, Marisa Chearavanont, Cherry Cheng, Geraldine Chung, Wilfried Cooreman, Yannicke Cooreman, Theo Danjuma, Harry David, Lana David, Beth Rudin DeWoody, Ago Demirdjian, Pieter and Olga Dreesmann, Yan Du, George Economou, Paul Ettlinger, Bill Fisher, Bob Fisher, Randi Fisher, Wendy Fisher, Yassmin Ghandehari, Heloisa Genish, Giancarlo Giammetti, Princess Nina of Greece, Laura de Gunzburg, Martin Hatebur, Katrin Henkel, Eva Hsieh, Dakis Joannou, Chandra Johnson, Peter Kahng, Phillip Keir, Kent Kelley, Donghwan Koh, Lina Lazaar, Christian Levett, Agnes Lew, Miyoung Lee, Marc J. Lee, Jeff Magid, Fatima Maleki, Eskandar Maleki, Patricia Marshall, John Morace, Mareva Grabowski-Mitsotakis, Lady Alison Myners, Hélène Nguyen-Ban, Louis Norval, Takeo Obayashi, Batia Ofer, Countess Christine d’Ornano, Midge Palley, Will Palley, Irene Panagopoulos, Rhea Papanikolaou, Paul Pariser, Erin Leider-Pariser, Emilie de Pauw, Alexander Petalas, Catherine Petitgas, Patrizia Sandretto Re Rebaudengo, Eugenio Re Rebaudengo, Olga Re Rebaudengo, Paul Ruddock, Muriel and Freddie Salem, Nadia and Rajeeb Samdani, Sam Schwartz, Anastasia Sgoumpopoulou, Junsub Shim, Uli Sigg, Neil Simkins, Julia Sorkin, Maria Sukkar, Timothy Tan, Natalia Tsavliris, Ninetta Vafia, Yvonne Force Villareal, Cathy Wills and Cherry Xu.
Leading and emerging artists in attendance included: Campbell Addy, Bunmi Agusto, Alex Margo Arden, Glenn Brown, Nicholas Byrne, Serigne Mbaye Camara, Michael Craig-Martin, Dorothy Cross, Abraham Cruzvillegas, Es Devlin, Diambe, Rhea Dillon, Anju Dodiya, Dame Tracey Emin, Sam Falls, Mélinda Fourn, Ryan Gander, Antony Gormley, Sunil Gupta, Samia Halaby, Lauren Halsey, Anthea Hamilton, Alex Hank, Mona Hatoum, David Hockney, Gary Hume, Arthur Jafa, Rachel Jones, Sanya Kantarovsky, Jasleen Kaur, Lilianne Kiame, Kimsooja, Michael Landy, Lin Li, Hew Locke, Naomi Lulendo, Lily McMenamy, Lindsey Mendick, Mariko Mori, Aline Motta, Oscar Murillo, Cassi Namoda, Nicolas Party, Vicken Parsons, Grayson Perry, Alberto Pitta, Gala Porras-Kim, Sandra Poulson, Thomas J Price, R. H. Quaytman, Anne Rothenstein, Zineb Sedira, Yinka Shonibare CBE RA, David Shrigley, Daniel Silver, Marianna Simnett, Tadáskía, Barbara Walker, Gillian Wearing and Michaela Yearwood-Dan.
Additional attendees included prominent arts professionals including: Nora Burnett Abrams, Mohamed Almusibli, Dina Amin, Maria Balshaw, Artemis Baltoyanni, Stephanie Barron, Amélie Blanchy, Iwona Blazwick, Osei Bonsu, Jaclyn Carr, Antonia Carver, Aaron Cezar, Anna Chatzinasiou, Doryun Chong, Martin Clark, Guillaume Cerutti, Eric Crosby, Dr Nicholas Cullinan OBE, Alain Defise, Ekow Eshun, Reem Fadda, Alex Farquharson, Elena Filipovic, Oliver Frankel, Arturo Galansino, Jean-Marie Gallais, Amanda de la Garza, Edward Gillman, Will Gompertz, Misan Harriman, Julie Harrah, Richard Harrah, Gus Casely-Hayford, Margot Heller, Joanne Heyler, Tristram Hunt, Toni-Blaze Ibekwe, Cao Jixiang, Aspa Karageorgiou, Priya Khanchandani, Suhair Khan, Christine Y. Kim, Dahoe Ku, Emma Lavigne, Jang-Uk Lee, Seungim Lee, Daniel Merritt, Lucas Oliver Mill, Hervé Mikaeloff, Jessica Morgan, David Morehouse, Gregor Muir, Eleanor Nairne, Sandy Nairne, David Netto, Stefano Rabolli Pansera, John Pawson, Yana Peel, Lowell Pettit, Sir Norman Rosenthal, Stephanie Rosenthal, Scott Rothkopf, Ralph Rugoff, Zoë Ryan, Jérôme Sans, Peter Saville, Fabian Schöneich, Joe Scotland, Victoria Siddall, Skarlet Smatana, Kartika Soekarno, Laura Smith Sweeney, Gilane Tawadros, Andreas Teoh, Jun Tian, Yesomi Umolu, Liane Weintraub, Zoé Whitley, Axel Wieder, Kulapat Yantrasast, Liu Yu and Heidi Zuckerman.
Further attendees from the creative and entertainment industries: Marisa Abela, David Albert, Lily Allen, Sophie Ashby, Zawe Ashton, Dennis Basso, Susan Bender Whitfield, Raimund Berthold, Ozwald Boateng, Helena Bonham Carter, James Blunt, Francis Bourgeois, Amanda Brooks, Matthew Brown, Edie Campbell, Nick Cave, Alva Claire, Alessandro Codognato, James Corbin, Cora Corré, Bryan Cranston, Emma Dabiri, Nicholas Daley, Giles Deacon, Johnny Depp, Leonardo DiCaprio, Honey Dijon, Joe Donnelly, Jamie Dornan, Mickey Down, Tania Fares, Nicole Farhi, Christy Ferer, Adot Gak, Lennon Gallagher, Martino Gamper, Thomas Gibson, Ellie Goulding, Nick Grimshaw, Jack Guinness, Paul Hameline, Ellis Howard, Roksanda Ilinčić, Mick Jagger, Karan Johar, Stephen Jones OBE, Princess Julia, Christopher Kane, Patsy Kensit, Gauri Khan, Ezra Koenig, Bernard Lagrange, Sarah Lancashire, Supriya Lele, Heewon Lee, Alexander Lewis, Adam Lippes, David Lindley, John Lithgow, Andrew Lincoln, Archie Madekwe, Madonna, Thebe Magugu, Niamh McCormack, Suzy Menkes, Camille Miceli, John Morace, David Netto, Lily Newmark, Rick Owens, Ananya Panday, Philippa Perry, Pierpaolo Piccioli, Janet Street-Porter, Isobel Richmond, Sampha, Rolf Sachs, Claudia Schiffer, Rufus Sewell, Keri Selig, Raf Simons, Mike Skinner, Sarah Snook, Rejjie Snow, Thomas Straker, Neil Tennant, Mario Testino, Emma Thompson, Tessa Thompson, Russell Tovey, Thomas Tuchel, Hikaru Utada, Chris Walker, Rachel Weisz and Lucy Williams and Bethan Laura Wood.
The fairs also welcomed politicians and royals, including Albert II, Prince of Monaco, Her Excellency Evelyne Genta, Henry Allsopp, 1st Baron Hindlip DL, Charles Armstrong-Jones, 2nd Earl of Snowdon, Baroness Thangam Debbonaire, Caroline Dineage MP, Charles Gordon-Lennox, 11th Duke of Richmond, Emma Thynn, Marchioness of Bath, Antonio Patriota, Brazilian Ambassador to the United Kingdom, and Warren Stephens, United States Ambassador to the United Kingdom.
INSTITUTIONAL PRESENCE
The 2025 editions highlighted London’s continuing appeal to international visitors, welcoming representatives from a record number of institutions and museums including over 400 groups of patrons who came from over 47 countries, across the five-day run, including the following: Art Institute of Chicago (ARTIC), Centre Pompidou, Guggenheim Abu Dhabi, Art Jameel, J. Paul Getty Museum (The Getty), Los Angeles County Museum of Art (LACMA), Louvre Abu Dhabi, M+ Museum for Visual Arts and Culture, MACBA Barcelona, Menil Collection, Museo Jumex, Museo Nacional Centro de Arte Reina Sofia, Museum of Modern Art (MoMA), Museum of Old and New Art (MONA), National Gallery of Art (NGA), National Gallery of Victoria (NGV), Peggy Guggenheim Collection, Pinault Collection, Rijksmuseum, Sharjah Art Foundation, Solomon R. Guggenheim Museum, Qatar Museums Authority, Stedelijk Museum Amsterdam, Tel Aviv Museum of Art, The Frick Collection, The Metropolitan Museum of Art, Toledo Museum of Art, Yuz Museum, Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA).