The 2025 edition of Frieze Los Angeles wrapped up on Sunday, February 23, marking a milestone year for the fair with strong sales, major institutional acquisitions, and an outpouring of support for the city’s artists. But beyond the record-breaking deals and the buzz of the art world’s elite, this year’s fair had a more profound significance—it became a rallying point for rebuilding a city after devastating wildfires.
With a packed four-day schedule and an electric atmosphere, Frieze LA proved once again that Los Angeles is a powerhouse in the global art market. The event welcomed 30,000 visitors from 85 countries, including major collectors and representatives from over 150 museums and institutions. The energy remained high throughout the weekend, with sustained sales and multiple sell-out presentations, cementing LA’s reputation as a critical hub for contemporary art.
Christine Messineo, Frieze’s Director of Americas, summed up the fair’s success: “Collectors and institutions showed up with real intent, buying with enthusiasm from the moment the doors opened. The market has demonstrated its strength, and more importantly, the global art community has shown its commitment to investing in LA’s creative ecosystem.”
A key highlight of this year’s fair was the debut of the Mohn Art Collective (MAC3), a partnership between the Hammer Museum, LACMA, and MOCA, which used a $75,000 fund to acquire works by Edgar Arceneaux and Shaniqwa Jarvis. The City of Santa Monica’s Art Bank also made acquisitions, further reinforcing the fair’s impact on the local art scene. Meanwhile, Ja’Lisa Arnold was announced as the winner of the prestigious 2025 Deutsche Bank Frieze Los Angeles Film Award, highlighting Frieze’s commitment to supporting emerging talent.
But Frieze LA wasn’t just about commerce—it was about community.
The fair took on a poignant role in supporting wildfire recovery efforts, seamlessly weaving fundraising initiatives into its programming. London-based dealer Victoria Miro led by example, dedicating her booth entirely to the LA Arts Community Fire Relief Fund, with all sales proceeds going toward rebuilding efforts.
One of the most moving installations at the fair was the collaboration between Frieze LA and the Black Trustees Alliance for Land Memories: Voices of Altadena. This powerful project captured the oral histories of artists who lost their homes in the January Eaton fire, offering a deeply personal and emotional reflection on what was lost—and what endures.
Asher Hartman spoke of Altadena as a uniquely diverse and welcoming place, while Peter Kim and Alice Könitz shared bittersweet memories of their favorite rooms in their now-destroyed home. Dominique Moody offered a stirring perspective, emphasizing that Altadena’s identity is “the connection between everyday life and the experience of creative thought and vision.”
The resilience of Los Angeles’ arts community was fully displayed at Frieze. Despite the uncertainty, the fair proved one undeniable truth: creativity thrives despite hardship. As the city rebuilds, its artists, galleries, and supporters remain steadfast—turning adversity into art and loss into new beginnings.
FRIEZE LA Market Highlights
Sold-out presentations included a collaborative showcase of Ambera Wellmann’s paintings by Hauser & Wirth and Company Gallery; David Kordansky Gallery placed all paintings and sculptures from its solo presentation of Maia Cruz Palileo within the fair’s opening hours; Mariane Ibrahim, which sold out its inaugural Frieze Los Angeles presentation featuring Haitian-American painter Patrick Eugène; Bortolami sold out their booth, including works by Naotaka Hiro, Rebecca Morris, and Madeline Hollander; Casey Kaplan, which sold out its solo booth of works by Sydney Cain and Altman Siegel sold out its booth of new oil paintings by Laeh Glenn. This year’s fair also saw numerous seven-figure sales. David Zwirner reported major sales, including an Elizabeth Peyton painting for $2.8 million, a Noah Davis work for $2.5 million, an Alice Neel painting for $1.8 million, and a Lisa Yuskavage painting for $1.6 million. Gladstone Gallery saw quick success with a Keith Haring painting on glass for $2 million, as well as several Robert Mapplethorpe photograph editions priced between $200,000 and $300,000 each, and a Ugo Rondinone painting for $240,000, among other works.
Thaddeus Ropac made significant sales, including a painting by Georg Baselitz for €1,000,000 and a painting by Alex Katz for $800,000. Michael Rosenfeld Gallery placed multiple works, including a Ruth Asawa sculpture, in the $1 million region.
Johyun reported that opening day sales totalled seven figures from its dual presentation of Lee Bae and Kishio Suga. Xavier Hufkens placed significant works, including a painting by Tracey Emin for approximately £1,200,000, a sculpture by Antony Gormley for £375,000, two paintings by Sterling Ruby for $140,000 and $85,000, two paintings and a sculpture by Mark Manders in the range of €30,000 to €110,000 each, and a painting by Sayre Gomez for $60,000.
Pace sold multiple works including a 2021 installation by James Turrell for $900,000, Robert Indiana’s 1966-1996 sculpture LOVE (Red Outside Blue Inside) for $600,000, and a new painting by Loie Hollowell for $325,000.
BLUM reported swift business, including sales of an anchor work by Yoshitomo Nara for $750,000; White Cube sold works including a Howardena Pindell painting for $325,000, a Tracey Emin acrylic and pencil on canvas for £125,000, and a Danica Lundy painting for $75,000.
Tina Kim Gallery reported multiple sales, including a Ha Chong-Hyun work in the range of $375,000 to $400,000, a bronze sculpture by Ghada Amer between $80,000 and $100,000, and a work by Suki Seokyeong Kang in the range of $75,000 and $90,000; for their debut presentation at Frieze LA.
Timothy Taylor saw strong sales, including a sculpture by Annie Morris for roughly £155,000, an Antonia Showering painting for £60,000, and a Sahara Longe painting for £60,000.
Night Gallery placed two works by Jesse Mockrin priced between $100,000 and $120,000 each, as well as three works by Sterling Wells between $10,000 and $20,000 each; 303 Gallery sold multiple ceramic works from their Sam Falls solo presentation, priced between $50,000 and $60,000 each, alongside two paintings priced at $60,000 each; Nara Roesler sold works including a Amelia Toledo sculpture for $50,000 and three Vik Muniz editioned series for $45,000, and Parker Gallery sold works by Marley Freeman, Karin Gulbran, Claudia Keep, Sahar Khoury, Joe Minter, and Daisy Sheff.
Kukje placed works including a Park Seo-Bo painting in the range of $250,000 to $300,000, a Kim Yong-Ik painting between $200,000 and $240,000, and a Kim Yun Shin painting between $140,000 and $168,000.
Jessica Silverman sold most of their booth in the early hours of the opening day, including a Loie Hollowell work for $170,000, a porcelain wall work by Rebecca Manson for $80,000, and a sculpture by Sadie Barnette
for $75,000.
Maureen Paley secured major sales including Rebecca Warren’s sculpture for £88,000, a Gillian Wearing bromide print for £38,000, and a Max Hooper Schneider sculpture for $28,000
first-time participant Southern Guild made numerous sales including two works by Manyaku Mashilo ranging between $22,000 to $26,000 each, three Bonolo Kavula works ranging between $5,000 and $16,000 each, an Alex Hedison work for $17,000, and a Zanele Muholi print for $22,000; Nazarian / Curcio made sales including four paintings by Summer Wheat priced between $40,000 and $70,000 each, and seven works by Vincent Pocsik ranging from $7,000 to $30,000 each;
LA Louver placed an Alison Saar woodcut print, Mutiny of the Sable Venus (2024) to the MSU Broad Art Museum in Michigan, sold paintings by Heather Gwen Martin priced between $14,000 and $26,000, in addition to selling numerous digital prints by Gajin Fujita and Saar that benefited the LA Arts Community Fire Relief Fund.
Sebastian Gladstone sold seven bronze and wood sculptures by Emmanuel Louisnord Desir, priced between $10,000 and $40,000 each, and kaufmann repetto made sales including a Katherine Bradford painting between $80,000 and $100,000, a Magdalena Suarez Frimkess & Michael Frimkess work in the range of $80,000 to $100,000, a Kresiah Mukwazhi painting priced between €20,000 and €30,000, a Corydon Cowansage painting between $20,000 and $30,000, and a Pae White painting priced between $65,000 and $85,000.
Focus
Focus, the section of the fair that provides a platform for emerging US-based galleries under 12 years of operation, was curated by Essence Harden (Curator, Made in LA 2025) for the second time, with many participants reporting sold-out booths and important acquisitions. Carlye Packer sold out their booth of works by Brandon Landers, priced between $16,000 and $54,000; Dominique Gallery made several sales in the range of $8,000 to $40,000, including an institutional placement to LACMA from their solo presentation of local artist Adee Roberson; Dreamsong sold acrylic, silver nitrate, and glass on canvas works by Edgar Arceneaux in the range of $16,000-$100,000 each; Make Room placed all works from their solo presentation of artist-engineer Xin Liu to prominent private and museum collections, with prices between $20,000 and $50,000 each; Babst sold two large works on paper by Athena LaTocha for $45,000 and $55,000; Nonaka Hill sold multiple works by Sawako Goda, priced between $25,000 and $50,000 each; and Tyler Park Presents sold several pieces by Henri Paul Broyard each priced between $3,000 and $12,000. Supporting Los Angeles Communities Through Fire Relief Efforts. A key highlight of Frieze Los Angeles 2025 was its philanthropic initiatives, which directly supported those affected by the recent fires.
Galleries Together
Victoria Miro opened their booth for the group presentation Galleries Together, which invited exhibitors and artists across the fair to contribute works in a curated group presentation with sales proceeds directly benefiting the LA Arts Community Fire Relief Fund. Works were sold through all days of the fair, including Victoria Miro placing Tidawhitney Lek’s Made in Cambodia (2024) and Jemima Murphy’s Life in Violet (2024) each in the range of $15,000 to $20,000.
Lehmann Maupin sold Liza Lou’s work on paper Sunday Afternoon (2013) for $25,000; David Kordansky Gallery sold Maia Cruz Palileo’s sculpture Spotted Aspin (2024) for $8,000; Kaikai Kiki Gallery sold the Tomoyumi painting Sunday Afternoon (2023) for $17,000, Chinatsu Ban’s painting Baptism in Mexico (2022) for $5,700, Ban’s Close Encounters of the Third Kind for $1,900, and a ceramic piece by Shin Murata and Takashi Murakami for $3,000; LA Louver sold Rebecca Campbell’s painting Salmon River Gold (2023) for $8,500; and 303 Gallery sold Erin Falls and Sam Falls’ ceramic piece Concord (2025) for $3,000.
An expanded selection of works presented at the fair and more will continue to be available at Frieze’s online viewing room following the close of the fair: https://viewingroom.frieze.com
Frieze Arts Alliance
Frieze launched the Frieze Arts Alliance as part of this year’s edition of Frieze Los Angeles. The new initiative unites major collecting institutions across the US in their shared commitment to supporting galleries and strengthening LA’s creative networks through active acquisition efforts. Galleries across the fair reported on the significant institutional engagement from museums with local, national, and international presence. Through this effort, Frieze will continue to help shape the future of museum collecting efforts while championing the work of local galleries and artists.
Institutional and Civic Acquisition Funds
For its inaugural year, the Mohn Art Collective (MAC3): Hammer, LACMA and MOCA acquired two works from the Focus section: Edgar Arceneaux’s Skinning the Mirror (Summer 1) (2025) from Dreamsong, and Shaniqwa Jarvis’ Slowly, Surely (2025) from Sow & Tailor to be added to the MAC3 collection, managed jointly by all three institutions. The fund, amounting to $75,000, was contributed by Los Angeles philanthropists Jarl and Pamela Mohn and Frieze.
The City of Santa Monica’s Art Bank acquired Edgar Arceneaux’s work Skinning The Mirror (Winter 9) (2025) from Dreamsong’s presentation in the Santa Monica Art Bank Acquisition Fund focus section. Attendees
Prominent art collectors at Frieze Los Angeles included Josh Abraham, Maria Arena Bell, Larry and Allison Berg, Armyan Bernstein and Christine Meleo Bernstein, Richard Chang, Michael Chow, J. Patrick Collins, Clifford Einstein, Bob and Linda Gersh, David and Susan Gersh, Rosetta and Balthazar Getty, Lisa Goodman, Pamela and David Hornik, Maria Hummer-Tuttle, Dee Kerrison, Jill and Peter Kraus, David Martin and Mary Klaus Martin, Jarl Mohn, Gael Neeson, Dominic and Ellen Ng, Susan Bay Nimoy, Paul Pariser and Erin Leider-Pariser, Carolyn Clark Powers, Dallas Price-Van Breda, Lynda Resnick, Amnon and Katie Rodan, Darren Romanelli, Stacy and John Rubeli, Jason and Michelle Rubell, Pete Scantland, Komal Shah, V. Joy Simmons, Lauren Taschen, and Ric Whitney and Tina Perry-Whitney.
The fair further saw notable attendees from entertainment, technology, and fashion industries including Angela Bassett, Julie Bowen, Adrien Brody, James L. Brooks, Tim Cook, Katie Couric, Marcia Cross, Kid Cudi, Hunter Doohan, Lisa Edelstein, Julia Fox, Midori Francis, Sara Gilbert, David Alan Grier, Gunna, Mark Hoppus, Elsa Hosk, Aurora James, Amirah Kassem, Minka Kelly, Kesha, Anthony Kiedis, Lizzo, Chuck Lorre, Brit Marling, Carolyn Murphy, B.J. Novak, Gwyneth Paltrow, Paulina Porizkova, Quigley, Kelly Rowland, Jada Pinkett Smith, Willow Smith, Suho, Oliver Stone, Russell Tovey, Karrueche Tran, and Jesse Williams.
Artists in AttendanceAttendance included Tanya Aguiñiga, Doug Aitken, Kelly Akashi, Lita Albuquerque, Jackie Amézquita, Edgar Arceneaux, Sadie Barnette, Rebecca Campbell, Claire Chambless, Liz Craft, Kenturah Davis, Awol Erizku, Sam Falls, Kohshin Finley, Delfin Finley, Gajin Fujita, Coco Fusco, Charles Gaines, Joel Gaitan, Lauren Halsey, Dan Herschlein, Julian Hoeber, Madeline Hollander, Max Hooper Schneider, Greg Ito, Alex Israel, Ozzie Juarez, Glenn Kaino, Titus Kaphar, Shio Kusaka, Xin Liu, Keith Mayerson, Caitlin MacQueen, Dominique Moody, Takashi Murakami, Rebecca Ness, Catherine Opie, Eamon Ore- Giron, Ariana Papademetropoulos, Christina Quarles, Victor’ Marka27′ Quiñonez, Calida Rawles, Adee Roberson, Robert Russell, Alison Saar, Betye Saar, Analia Saban, Alake Shilling, Nancy Stella Soto, Oscar Tuazon, Gary Tyler, Mary Weatherford, Jennifer West, Nana Wolke, and Jonas Wood.
The California African American Museum, a part of the Frieze Arts Alliance, purchased two Darrel Ellis works, Untitled (Bathing Beauty) (1987-1989) and Untitled (Bathing Beauty) (1988-1991) from Hannah
Hoffman Gallery.
Institutional Attendees
Attendees included local and international museum leaders and representatives, including Nora Abrams (Museum of Contemporary Art, Denver), Ian Alteveer (MFA Boston), Paul Baker Prindle (Madison Museum of Contemporary Art), Christopher Bedford (SFMOMA), Louise Bernard (Barack Obama Presidential Center), Johanna Burton (Museum of Contemporary Art, Los Angeles), Thomas Campbell (Fine Arts Museums of San Francisco), Amada Cruz (Museum of Contemporary Art, Santa Barbara), Michael Govan (Los Angeles County Museum of Art), Ali Gass (ICA SF), Thelma Golden (Studio Museum in Harlem), Joanne Heyler (The Broad), Anne Ellegood (ICA LA), Sandra Jackson-Dumont (Lucas Museum of Narrative Art), Kathryn Kanjo (Museum of Contemporary Art San Diego), Jamielee Lacy (Fyre Art Museum), Nora Lawrence (Storm King Art Center), Jill Medavow (ICA Boston), Lisa Melandri (CAM St. Louis), Jeremy Mikolajczak (Phoenix Museum of Art), Andrew Perchuk (Getty Research Institute), Timothy Potts (J. Paul Getty Museum), Veronica Roberts (Cantor Arts Center, Stanford University), Zoe Ryan (Hammer), Cameron Shaw (California African American Museum), Hanneke Skerath (Marciano Art Foundation), Scott Stulen (Seattle Art Museum), Sasha Suda (Philadelphia Museum of Art), Victoria Sung (Walker Art Center), Sally Tallant (Queens Museum), Jeremy Strick (Nasher Sculpture Center), Monetta White (Museum of the African Diaspora), Julie Rodrigues Widholm (Berkeley Art Museum and Pacific Film Archive), Diane Wright (Toledo Museum of Art), and Heidi Zuckerman (Orange County Museum of Art).
What The Dealers Said:
Galleries across the fair shared insights around the resiliency of Los Angeles’s arts community, alongside enthusiasm from top collectors, museum groups and curators throughout the fair’s run.
Jessica Silverman, Founder & CEO:
‘Los Angeles is like a phoenix rising from the ashes. Frieze LA remains an essential fixture in the international art world calendar. For us, it’s more than just a successful marketplace—it’s where we connect with our LA-based artists, catch up with curators who work west of the Mississippi, and meet new clients from the Pacific Rim.’
Simon Devolder, Partner, Xavier Hufkens:
‘Los Angeles never loses its allure—a city deeply intertwined with the lives and work of so many of our artists. Once again, Frieze LA reaffirmed the city’s vital role on the global contemporary art stage. The community showed its support, the mood was upbeat and forward-looking, and the fair was a resounding success. We were especially delighted by the overwhelming response to Constantin Nitsche’s solo presentation, which sold out completely.’
Max Falkenstein, Partner, Gladstone Gallery:
‘We’ve seen strong engagement from collectors and institutions throughout this week, reflecting the sustained excitement we have seen across the market for several months. We have been pleased to place works in important institutional and private collections by many major artists on our roster, including David Salle, Amy Sillman, and Ugo Rondinone, as well as multiple iconic works by Keith Haring and Robert Mapplethorpe, among others. This year’s fair also offered an important opportunity to spotlight works by Gladstone artists like Jaider Esbell, Karen Kilimnik, Robert Rauschenberg, and Rosemarie Trockel, all of whom have current or upcoming exhibitions at the gallery.’
Tim Blum, Owner, BLUM:
‘I was rooting for this fair. I knew quite clearly that it would be an
important event—it always is, but even more so this year after the devastating fires. Given the circumstances, I kept my expectations in
check, but I was heartened when I walked up on opening day to see a serpentine line winding down the entrance ramp. Ultimately, there was a vibrant, energetic crowd at the start of the fair
and in days that followed. Frieze Los Angeles this year was a win.’
Maureen Paley, Owner:
‘It is inspiring to see how art brings hope and connection to a city I care about. It has been important to support artists from LA that are part of the gallery programme and maintain a positive response towards the LA art community at this crucial time.’
David Kordansky, Founder and Owner, David Kordansky Gallery:
‘This year’s edition of the fair was an essential platform for the artists and galleries based here in Los Angeles. It was a galvanizing moment for the city as we look to rebuild. LA showed up for LA, and we felt the love and support from our international arts community.’
Stuart Morrison, Managing Director, Hales:
‘Frieze always knows how to host a vibrant fair, and here in LA, there was a palpable energy in the tent. We’re delighted with the deep engagement in our Kay WalkingStick solo booth. The audience connected with it, and sales were strong.’
Marc Payot, President, Hauser & Wirth:
‘For Hauser & Wirth, this is a very special moment because our booth at Frieze LA is the gallery’s first solo presentation with Ambera Wellmann — a sold-out stand organized in equal partnership with Company Gallery under the aegis of our Collective Impact Initiative launched in 2023. Working with Ambera, whose astonishing paintings envision an ominous and gorgeous future, is an honour. And it is a great pleasure to work closely with Sophie Mörner and her team at Company, developing a relationship where sharing knowledge, resources and mutual support can suggest a new model for cooperation across the wider gallery field.’
Ethan Buchsbaum, Partner, Almine Rech:
‘We were delighted by the robust turnout that Frieze could generate and saw many of our most serious collectors, institutional contacts, and other gallery supporters at the fair – yielding our strongest sales results at Frieze Los Angeles to date.’
Marc Selwyn, Owner, Marc Selwyn Fine Art: ‘We have always done extremely well at Frieze Los Angeles, and this year was no exception. The fair had the energy and enthusiasm of past years, with the added benefit of gathering people at a time when being together and feeling a sense of community is especially important. We sold seven works on opening day, with multiple sales for our newest artists, Akinsanya Kambon and Rodolfo Abularach, to both local and visiting collectors. The strong showing at the fair further proves that Los Angeles has come together around art. In addition, our gallery, in collaboration with Pace and Fraenkel Gallery, produced a benefit edition for fire relief efforts. We were overwhelmed by the positive response from the community and sold out of the edition within the first hour, raising $200,000 in total. The spirit of support in our industry is one of its greatest strengths. We believe it was essential for galleries and the entire art ecosystem that supports them to take the risk and move forward with the fairs. From our point of view, this turned out to be the right decision.’
Karen Galloway, Owner and Director, Sow & Tailor:
‘With everything having felt so unstable recently, Frieze this year offered us a solid platform to come together and ensure that our artists and the wider community were supported. A huge success was the broad institutional presence and reception of our presentation. Having Shaniqwa Jarvis’ work acquired by Hammer, LACMA, and MOCA through the MAC3 Collection is beyond significant. It’s a dream for most artists, but for her to be in these collections as part of her first Frieze presentation is such a blessing.’
Minyoung Joo, Senior Director, Johyun Gallery:
‘Los Angeles is a vital contemporary art connection, serving as a dynamic bridge between North America and the Asia-Pacific region. The city’s distinct appreciation for artistic diversity and refined curatorial sensibility have notably amplified its engagement with Korean art. Within this fertile environment, we’ve been able to present artists on a competitive stage and fostered invaluable dialogues with collectors, curators, and various galleries, deepening these essential relationships.’
Seth Curcio, Owner, Nazarian / Curcio:
‘We were thrilled to return to Frieze LA this year and to transition from the Focus section. The support for our city and its artists was palpable. Collectors and curators travelled from numerous states, and their enthusiasm was evident in the event’s mood and the strong acquisitions that began for us on opening day and continued throughout the fair. Our booth reflected the gallery’s program, with half of the featured artists hailing from LA. It was wonderful to welcome everyone to our city; the fair was a truly positive moment for Los Angeles.’
Rebecca Heidenberg, Partner, Dreamsong: ‘I am thrilled with Frieze LA’s attention to Dreamsong’s program and Edgar Arceneaux’s extraordinary work. With a nearly sold-out booth at the end of Friday, and the significant acquisition of Skinning the Mirror (Summer 1) through the Mohn Art Collective for the Hammer, LACMA, and MOCA collections, as well as an acquisition by the Santa Monica Art Bank Fund, Arceneaux’s new body of work created during a residency at the Walker Art Center is receiving well-deserved recognition.’
Emma McKee, Director, Mariane Ibrahim:
‘We were delighted to debut at Frieze Los Angeles and connect with an incredible array of local collectors and institutions. Los Angeles’ enthusiasm and support were invigorating, and we appreciated the opportunity to build new relationships as outsiders. We look forward to returning.’
Carlye Packer, Owner:
‘As an LA-based and born gallerist showing an LA-based and born artist, I’m so grateful for the support and positive reactions we received during the fair’s first days, including meeting so many new clients. But I’m not surprised—considering Brandon Landers is an extremely talented artist. We have worked together in some capacity since 2017, and showing his work is one of the greatest pleasures in life as a dealer.’
Emilia Yin, Owner, Make Room:
‘We are delighted by the enthusiasm for Xin Liu’s work, which is now entering major institutions and significant private collections across North America and Europe. As a gallery committed to championing visionary artistic practices, we are moved by the growing support from major Los Angeles collectors. We are pleased to have placed additional works by Liu beyond those in our booth with new clients through the fair.’
Takayuki Ishii, Founder, Taka Ishii Gallery:
‘We are always happy to be back in LA for Frieze Los Angeles every year. This year, we felt it was special to be here, as the art community got together to support the artists and art workers affected by the fires.’
Alex Logsdail, CEO, Lisson Gallery: ‘We always look forward to Frieze LA, and this year has been especially meaningful. We’ve had a strong fair, placing works across the booth by artists like Olga de Amaral, Hélio Oiticica, Leiko Ikemura, Oliver Lee Jackson, and LA-based Kelly Akashi, who just opened her first show with us. The collector turnout has been great. A key part of our experience has been seeing the art community come together – supporting one another and the city after the devastation earlier this year. There was a real sense of showing up for each other, and that energy has been palpable through the fair.’
Davida Nemeroff, Owner, Night Gallery:
‘We’re excited to be back at the Santa Monica Airport with colleagues and collectors who have travelled from across Los Angeles and the rest of the world. After the devastating fires early this year, seeing the community’s resilience and ongoing outside support is amazing. We’re thrilled to see so much interest in work by Sterling Wells, an LA artist who paints the city’s terrain vaguely, and in Jesse Mockrin, who will open her first solo museum exhibition this fall at the Art Gallery of Ontario.’
Loreta Lamargese, Director, Bortolami Gallery:
‘Bortolami brought three LA artists to Frieze LA this year, and the community truly rallied to support them. We sold over 60 watercolours from Madeline Holander’s installation, raising over $8,000 in fire relief funds. Hollander’s two neon works in the booth also went to great collections. We also placed the respective Naotaka Hiro and Rebecca Morris paintings we exhibited this week. The price point for the artworks we brought was between $3,500 and $100,000.’
Storm Ascher, Owner, Superposition:
‘It’s been so rewarding to watch the response to our first-ever booth with Frieze and in Los Angeles, Superposition was born in 2018. LA was ecstatic to have new work by February James back in the city, which first put her on as she lived here for 15 years and collected her work early on. Our presentation, A Matter of Belief, spoke to the community in a pivotal time of upheaval due to the fires, as we’ve all had our faith and hope questioned. The paintings acknowledge us all trying to muster this resilience with their dreamlike and weary gaze. I’m also so grateful to Essence Harden and Christine Messineo for breaking the mould of this historic fair by highlighting our nomadic gallery model.
I look forward to continuing our mission with the help of this organization and their wider audience worldwide!’
Claudia Altman Siegel, Owner, Altman Siegel:
Frieze LA kicked off with tremendous enthusiasm and
energy. We sold out our solo booth of works by Laeh Glenn by the end of the first day. I think the art
community came out with a heartfelt desire to support the galleries and artists and to see art thrive in Los
Angeles and we are thrilled to be a part of it.’
Monique Meloche, Owner, moniquemeloche:
‘We’re thrilled with the warm West Coast reception of our solo.
Presentation by Candida Alvarez. We spoke to at least 25 museum groups on day one and placed most of her works in private collections nationwide, ranging from 20-100k.’
Julie and Bennett Roberts, Founders, Roberts Projects:
‘Frieze Los Angeles 2025 has been incredible.
It was successful for us. One of the standout moments was showcasing Betye Saar’s Sanctified Visions (1990) installation, a powerful reflection on Zora Neale Hurston’s childhood, alongside Wendy Red Star’s Evening.
Star #1 (2025) is an immersive experience that beautifully explores the connections between earth and sky, reality and illusion. We’re also thrilled to have placed significant works by Luke Agada, Amoako Boafao,
Daniel Crews-Chubb, Lenz Geerk, Wendy Red Star, Kehinde Wiley and Brenna Youngblood. This year’s fair has been an excellent opportunity to connect with curators, collectors, artists and art lovers – it’s been an incredibly positive experience during a challenging time for our city.’
Angela Brazda, Director, White Cube: ‘Frieze provided an incredible opportunity for the international art world to unite to support Los Angeles’s vibrant art community. The energy, interest, and enthusiasm were palpable, with a strong showing of collectors, institutions, and artists. We placed several significant works from our presentation of artists, including Julie Curtiss, Tracey Emin, Sara Flores, Richard Hunt, Danica Lundy, Yoko Matsumoto, Howardena Pindell, Jessica Rankin, and a new painting by Tunji Adeniyi-Jones with a prominent US institution.’
Trevyn McGowan, Founder, Southern Guild
‘Marking the first anniversary of the opening of our LA gallery, we celebrated amidst a dynamic hub of collectors, longtime supporters, and new, curious visitors. The response to our all-women presentation was overwhelming—both in sales volume, which exceeded all expectations, and in the depth and gravitas of engagement. The energy on the booth never wavered, with a remarkable surge of interest in Alex Hedison’s poignant photographic series, capturing the memory of her childhood Malibu home lost to the recent wildfires. The now sold-out editions honour this moment of the city’s history and our deepening ties to our community here in Los Angeles.’
Alexandra Lovera, Sales Director, Proyectos Monclova:
‘Frieze LA was an incredible experience for us. We had an amazing response to Victor Hugo Pérez’s work, and despite the uncertainty surrounding the fair, The art community came together with remarkable resilience after the devastating fires. It was truly inspiring to witness such a strong and engaged presence, proving once again that art has the power to unite and persevere.’
Elizabeth East, Director, L.A. Louver:
‘AttendanceAttendance has been consistently excellent over the past few days, with a very engaged audience and a marked sense of community. Sales have been outstanding: our first, early Thursday — a large-scale woodcut by Alison Saar — went to a Midwestern Museum. Further works and special limited editions were placed at the collaborative Galleries Together booth and our own in support of the LA Arts Community Fire Relief Fund.’
Paul Jenkins do Nascimento, International Director, Almeida & Dale:
‘This was our first Frieze LA, and we could not be happier with the sales results and the connections made with collectors, galleries and institutions. We sold works by Jaider Esbell and Gustavo Caboco, evidence of local collectors’ strong interest in Indigenous Brazilian artists, a focus of Almeida & Dale. We also sold Amedeo Lorenzato and Hélio Melo, two important historical Brazilian artists.’
Tyler Park, Owner and Director, Tyler Park Presents:
‘It was great to be a part of the fair and see the Los Angeles community come together. It’s been fair that I have wanted my gallery and artists to be a part of since I opened, so I loved being here. Sales were strong for my presentation, and we sold to new collectors for my gallery.’
Pauli Ochi, Owner and Founder, Ochi: ‘We’ve had a wonderful fair showing LA-based artist Lenworth McIntosh’s work in the Focus section. This year’s Frieze has been a powerful demonstration of our community’s resilience. The collective spirit of support has been a reminder of art’s ability to bring people together.’
Frieze Projects
This year, Frieze Projects included public artworks installed on-site, curated by Art Production Fund and titled Inside Out. The special section features site-specific works by Lita Albuquerque, Jackie Amézquita, Claire Chambless, Joel Gaitan, Madeline Hollander, Greg Ito, Ozzie Juarez and Dominique Moody in an exploration of perspective: how personal histories and experiences shape an understanding of Los Angeles, its culture and landscape.
Each day of the fair, Claire Chambless hid 100 eggs throughout the fair campus, both within the tent and the Airport site, with small unique sculptures within each golden plastic egg. Ozzie Juarez gave out 1,000 uniquely packaged objects sourced from swap meets across the greater Los Angeles area. Dominique Moody offered visitors private tours each day of her artwork Nomad, a mobile dwelling inspired by found objects and salvaged materials presented in collaboration with Destination Crenshaw. Madeline Hollander’s Day Flight allowed fair visitors to embody various forms of movement as part of a choreographed flight plan over panoramic vistas of Malibu and the Pacific Palisades as part of a deeply personal reflection on the conditions of living with global climate crises. In total, 27 flights were offered throughout the four days of the fair.
Deutsche Bank Film Award
The fair also saw the sixth edition of the Deutsche Bank Frieze Los Angeles Film Award. Realized in collaboration with acclaimed nonprofitnonprofit Ghetto Film School and global film and TV studio FIFTH SEASON, the Frieze Los Angeles Film Award has been widely recognized as an incubator for next-generation talent. Since its launch in 2019, the initiative has supported over 40 fellows, providing a platform for emerging voices in filmmaking. Ja’Lisa Arnold was named the winner of the $10,000 prize for her film Grief Cannot Exist Without Joy, which
centres on Tobi, a talented musician, struggling with the recent loss of his brother Lou. Christopher Guerrero was revealed as the winner of the Audience Award, voted for by the public, and received $2,500. His film,
Reprogrammed is set in retro-future LA, where Andrea, a lonely roboticist, has neglected her life to complete her masterpiece, IRIS, the “Integrated Reactive Intelligence System.”
The recipient of this year’s Frieze Los Angeles Impact Prize of $25,000 was Victor’ Marka27′ Quiñonez. The fair debuted his ‘I.C.E SCREAM’ series, a collection of paintings and sculptural installations confronting the immigrant experience and speaking to the beauty, strength and resilience of migrant workers, street vendors and Indigenous cultures. A distinguished panel, Pamela, J. Joyner and Sable Elyse Smith selected Quiñonez’s proposal for the award in collaboration with Taylor Renee Aldridge, who joined as the 2025 Frieze Los Angeles Impact Prize curator.
Summaeverythang Community Center, a nonprofitnonprofit founded by artist Lauren Halsey, showcased the organization’s vision for a permanent hub offering education, health, wellness, and art through creativity, connection, and empowerment. The fair collaborated with AMBOS (Art Made Between Opposite Sides) to present Frutas Coquetas (Sexy Fruit), an installation of ceramic works created by artists in a trauma-informed ceramics program for refugees and asylum seekers. All proceeds benefited undocumented residents and workers affected by the fires. Additionally, a new collaboration with the Black Trustee Alliance on the legacy of Altadena’s Black and POC communities was inaugurated after the Eaton Fire. The project featured a panel discussion with Kenturah Davis and Leah Thomas (Green Girl Leah), alongside an activation within the fair’s tent.