New York, May 12, 2025 – Frieze New York wrapped its 2025 edition at The Shed on Sunday, cementing its reputation as a premier destination for contemporary art with strong sales, a dynamic international audience, and critically acclaimed programming. The fair drew 25,000 visitors from 60 countries over five days, underscoring its global appeal.
This year’s edition featured more than 65 leading galleries, presenting a tightly curated mix of blue-chip names and rising talents. From Wednesday’s VIP preview to Sunday’s public hours, dealers reported consistent demand across all market tiers, with private collectors, institutions, and foundations actively acquiring works.
Meanwhile, Mitre Galeria took home the 2025 Focus Stand Prize for its solo presentation of Luana Vitra, further spotlighting the fair’s commitment to innovative gallery programming.
The fair also saw a strong institutional turnout, with acquisitions by major US museums and university collections, alongside curator and patron groups from the Americas, Europe, and Asia. Galleries noted an especially engaged contingent of New York-based collectors, with many praising the fair’s buoyant atmosphere and sustained interest through closing day.
Performance-led initiatives and talks further enriched the program, reinforcing Frieze’s role as both a marketplace and a platform for critical discourse. As the art world looks ahead to the next major fairs, Frieze New York 2025 has set a high bar—proving, once again, its centrality in the global art calendar.
A renewed focus on performance and public art led this year’s programme. Highlights included a co-commission by Frieze and High Line Art featuring Pilvi Takala’s The Pin, curated by Taylor Zakarin, Associate Curator, High Line Art, and Immortal Coil by Asad Raza. This contemplative walking piece invited participants to carry a plant along the High Line. Within the fair itself, a new sound installation by Carlos Reyes added a resonant, sonic layer to the visitor experience. The fair’s Focus section, advised by curator Lumi Tan, offered critical insight into some of today’s most compelling young practices, with presentations that ranged from politically charged installations to new approaches to painting and sculpture.
Christine Messineo, Director of Americas, Frieze, said: “Frieze New York 2025 defied expectations, amplifying the momentum of our strong start to the year in Los Angeles. We are proud to have created a fair that feels responsive to the moment while maintaining the high standards that Frieze expects from galleries, collectors and institutions. The energy throughout the week – on the floor, in the programming and across the city – was extraordinary.”
Meredith “Max” Hodges, CEO of The Shed, said: “Marking our fifth year hosting Frieze New York underscores the strength of our ongoing partnership. Once again, The Shed served as a vibrant hub for Frieze, and it was a thrill to witness the convergence of artists, galleries, and visitors within our spaces. We deeply value our collaboration with Frieze, which allows us to provide a unique platform for such dynamic artistic exchange and contribute to another exciting week of exceptional art and engagement for New York.”
Claudio de Sanctis, Global Head of Private Bank and Member of the Management Board, Deutsche Bank, said: “With New York at the heart of finance and contemporary art, there is no better place than Frieze New York for our clients to connect with world-leading gallerists, fellow collectors and artists. We are delighted to support Frieze in bringing the best of contemporary art and artists to new audiences and show how art can break down boundaries and inspire new realities.”
Britta Färber, Global Head of Art & Culture, Deutsche Bank, added: “Deutsche Bank has long believed in the transformative power of art to unite communities and inspire us. We truly value our longstanding partnership with Frieze. The New York edition of the fair was as exciting as always this year, with new artistic positions and approaches to discover. We were delighted to present rarely seen works from the Deutsche Bank Collection, showcasing the post-war cultural dialogue between Germany and the United States by artists such as Joseph Beuys, Helen Frankenthaler, Joan Mitchell, Gerhard Richter, James Rosenquist, and Andy Warhol.”
HIGHLIGHT SALES
Sales across Frieze New York 2025 reflected strong demand at every market level, with local and international exhibitors reporting significant placements from the fair’s opening moments.
White Cube recorded numerous sales, including a Tracey Emin painting for £1.2 million, alongside works by Etel Adnan, Antony Gormley, Christine Ay Tjoe and Ilana Savide.
Hauser & Wirth sold over 25 works by early afternoon of the opening day, including significant pieces by Lorna Simpson, Rashid Johnson and Amy Sherald.
Gagosian noted a “phenomenal” response to its presentation of Jeff Koons, with works placed, including Hulk (Tubas), in the early hours of the first day.
Thaddaeus Ropac placed several works, including a painting by Georg Baselitz for €1,000,000 and a work by Liza Lou for $225,000. Pace placed all six of its Adam Pendleton paintings within the first few hours, alongside several works by Lynda Benglis.
Other standout results included multiple sales at Karma, including a Gertrude Abercrombie painting for $350,000; and at Nara Roesler, where highlights included a Tomie Ohtake oil painting for $350,000. Kukje Gallery sold several works, including a painting by Park Seo-Bo in the $250,000–300,000 range and additional works by Kyungah Ham, Kibong Rhee, Haegue Yang and Suki Seokyeong Kang. Mendes Wood DM placed several works, notably Kishio Suga’s Sliced Stones installation of eight sculptures in a museum collection, priced between $200,000 and $ 300,000. James Cohan Gallery, Tina Kim Gallery, Goodman Gallery, 303 Gallery, Gallery Hyundai and Southern Guild also reported multiple sales. On the first day, Mor Charpentier, who sold out their booth of works by Malo Chapuy. Madragoa also sold out its booth of paintings by Rodrigo Hernández. Additional strong results came from Chapter NY, Sultana, Union Pacific, and Andrew Kreps Gallery, with robust sales across various media and price points.
The Focus section, supported by Stone Island and dedicated to galleries founded in the last 12 years, also saw strong sales and institutional engagement. Mitre Galeria (Belo Horizonte), winner of the 2025 Focus Stand Prize for its solo presentation of Luana Vitra, sold numerous works. G Gallery (Seoul) placed a central installation by Yehwan Song in a private institution. At the same time, Voloshyn Gallery (Kyiv) sold multiple works at its presentation of paintings by Claire Tabouret, ranging from $65,000 to $200,000 alongside Perrotin paper and a sculpture by Nikita Kadan. Prices in Focus ranged from $2,000 to $100,000, with presentations praised for clarity, ambition and depth.
GALLERY RESPONSE
Millicent Wilner, Senior Director, Gagosian: “It has been an extremely productive few days, and the response to our booth was phenomenal. We were honoured to work with Jeff Koons on presenting three major sculptures from his collection and to sell ‘Hulk (Tubas)’ in the fair’s opening hours.”
Angela Brazda, Director, White Cube: “Frieze New York was an exceptional fair that delivered high-calibre collectors, curators, and institutions, with significant sales momentum beginning on the VIP preview day that continued throughout the weekend. We had meaningful conversations with collectors and visitors. We saw interest, enthusiasm, and acquisitions for artists across our program, including Etel Adnan, Ellen Altfest, Christine Ay Tjoe, Bram Bogart, Alex Carver, Julie Curtiss, Tracey Emin, Cerith Wyn Evans, Sara Flores, Antony Gormley, Al Held, Marguerite Humeau, Howardena Pindell, Jessica Rankin, and Ilana Savdie.”
Samanthe Rubell, President, Pace Gallery: “Adam Pendleton had a clear vision when pairing his works with Lynda Benglis. The resulting striking, multi-dimensional dialogue captured the audience’s attention, traversing the ever-bustling fair scape, creating conversation and numerous sales!”
Malikiiib Al-Mahrouky, Partner, Kurimanzutto: ‘The fair was strong this year. We sold works ranging in price from $10,000 to $275,000 to important-level collectors and museums in the Americas, including the Dallas Museum of Art.’
Marc Payot, President, Hauser & Wirth: “By early afternoon on Wednesday, we’d sold over 25 works in our stand, ranging in price from $20,000 to $1.2 million, representing the diverse community that is our gallery’s roster. Among these are Lorna Simpson’s “Vista” (2025) and Rashid Johnson’s “Soul Painting ‘The Jungle’” (2025).
The crowd and conversations were incredibly upbeat. Perhaps most significantly, the energy at the fair was amazingly optimistic: we’re seeing an even more robust commitment now from collectors,
curators, and institutions to the story of art in this moment. The works in our stand, including those by Johnson and Simpson, Mary Heilmann, Roni Horn, Thomas J Price, Amy Sherald and Jack Whitten, together
confirm the fact that the talent of great creators is limitless – that independent voices and the truths they convey cannot be contained and will continue to shape our culture for the better and everyone.”
Sam Gordon, Co-Founder, Gordon Robichaux: “Opening day at Frieze is the apex of this May art week, and an incredible opportunity to amplify Jenni, who we lost too soon, as both an artist and curator. Lumi Tan’s
The focus section was a highlight of the fair, again. For us, it was a fantastic way to relaunch Jenni Crain’s work and our concurrent exhibitions at the gallery. We placed work with essential collections and started more conversations around some of her larger-scale sculptures and unrealised curatorial projects.”
Peggy Leboeuf, Partner, Perrotin New York: “For Frieze New York, we decided to focus on a solo presentation, with a new series of work by Claire Tabouret. Her seven new paintings are beautifully intimate
and vulnerable portraits that draw inspiration from her life and interest in psychoanalysis. It has been an important year for Claire, as she was honoured with a commission to create the stained-glass windows of Notre Dame and an upcoming exhibition at Grand Palais. We were happy to show her work to a New York audience and had an excellent response with all the works placed in great collections.”
Karma: “ We were thrilled with Frieze New York. This year, we had many valuable conversations with old and new collectors and placed numerous works into local and international collections.”
Hyun-Sook Lee, Founder and Chairwoman, Kukje Gallery: “Frieze New York is an important platform for strengthening networks with leading institutions across North America, while engaging with key figures
in the art world and new collectors worldwide. This year, Kukje Gallery—a long-time participant at Frieze New York—presented a booth exclusively dedicated to Korean artists and artists of the Korean diaspora, which was met with positive responses for its conceptual and minimalist works. Opportunities are emerging for Korean artists to enter major museum and gallery exhibitions timed around Frieze Week. Within New York, York’s dynamism and the fair’s diversity were significant. Kukje Gallery successfully advanced sales and artist promotion, and we look forward to returning next year.”
Tina Kim, Founder, Tina Kim Gallery: “Our presentation at this year’s Frieze New York highlighted a growing focus of our program: women artists engaging with textiles in inventive and powerful ways. The response was strong, with placements to international clients as well as foundations and museums across Europe and Asia, affirming the strength of these under-recognised narratives and the continued resilience of the global art market.”
Lisa Spellman, Founder and Director, 303 Gallery: “We love connecting with curators and our collectors at Frieze New York. The quality and focus of the presentations, coupled with the supportive energy, have been fantastic.”
Daniel Roesler, Senior Director and Partner, Nara Roesler: “We are
happy to be part of Frieze New York again. The quality of the fair is solid. Despite initial concerns about the current economic uncertainty, we
have had a great start to the spring art season with interest from American and Latin American collectors.”
James Cohan, Co-Founder and Partner, James Cohan: “We’ve seen strong institutional interest in our solo presentation of work by Tuan Andrew Nguyen at Frieze this year, with both domestic and international
museums moving swiftly to acquire work by a sought-after artist. This speaks to the growing recognition of Nguyen’s significance in contemporary art discourse and the strategic effectiveness of focused solo presentations for standing out within a crowded field.”
Sarah Durning Cope, Senior Director, Goodman Gallery: “While we anticipated a more tempered pace this year, Frieze New York proved vibrant from the outset and maintained steady momentum.
We were thrilled to place significant works by a multigenerational group of extraordinary women artists, including Carrie Mae Weems, Kapwani Kiwanga, Pamela Phatsimo Sunstrum, and Ravelle Pillay, as well as works by William Kentridge and Yinka Shonibare. It was especially gratifying to connect with both longtime supporters and new collectors. Even amid market uncertainty, meaningful and
Resonant work continues to find its way into the right hands.”
Stuart Morrison, Managing Director, Hales: “We’ve felt the energy Frieze has brought to New York this week, inside the fair and across the city. It’s much welcomed.”
Valerie Carberry, Partner, GREY: “We were delighted to return to Frieze New York– our first time exhibiting at The Shed– with a two-person presentation of Leon Polk Smith and Judy Ledgerwood, highlighted in the
press as one of the best booths at the fair. The Frieze audience was enthusiastic about the pairing, as each artist’s work expands and challenges the meaning of abstract painting. We were especially pleased to build recognition for Judy Ledgerwood’s work before our September solo exhibition in our New York gallery.”
Trevyn McGowan, Co-Founder, Southern Guild: “Our debut presentation at Frieze New York has been a high point in our journey as a gallery, both in terms of sales and relationships. We experienced stellar
engagement with curators, advisors, museums, and collectors and sold 12 important works, a large majority of the pieces on our booth. We have begun many deep conversations and look forward to the resulting collaborations and projects.”
Luiza Calmon, Partner, Fortes D’Aloia & Gabriel: “From our experience, Frieze New York 2025 demonstrated a strong appetite for high-quality works across the spectrum, from historical to emerging. Our
selection featured a compelling intergenerational dialogue among four Brazilian artists—Beatriz Milhazes, Wanda Pimentel, Tadáskía, and Antonio Tarsis—which felt especially timely, reflecting the increasing
institutional recognition of each artist individually. By the end of day one, we had sold out all works by Antonio Tarsis and Tadáskía’s, six historical Wanda Pimentel drawings and one collage by Beatriz Milhazes.”
Guillaume Sultana, Founder, and Kate Park, Director of Sales and Business Development, Asia, Sultana: “New York never disappoints! You simply can’t beat its energy. Despite ongoing debates around politics and
the economy, Frieze New York 2025 truly delivered. Once again, it affirmed how art brings people together in powerful, unspoken ways. A highlight for me was a quiet crowd gathering at our Galerie Sultana booth, each person dialling into the work of P. Staff’s On My Death Bed / An Opus On Love / Venus (telephone), 2025—a five-minute sound piece titled Protocol. For a moment, we were all suspended in shared reflection.”
Dakyung Lee, Director, G Gallery: “Participating in the 2025 Frieze New York Focus section with Yehwan Song was a significant experience for G Gallery. It was an honour to present her critical
perspective on today’s digital environment through unique structural installations on a global stage. More than just a platform for emerging voices, this year’s Focus section offered a moment of reflection and sparked meaningful dialogue across the art world.”
Julia and Max Voloshyn, Co-Founders, Voloshyn Gallery: “We were delighted to be part of Frieze New York this year. The fair had an outstanding energy and brought together an impressive range of collectors, curators, and art world professionals. We were pleased with the strong interest in our presentation and are grateful for
The meaningful conversations and successful sales were an advantageous addition for us.”
Grace Schofield, Director, Union Pacific: “Our first Frieze New York has been fantastic. The Shed as a venue is great! We have formed valuable relationships with local collectors and responded well to new
and existing positions in the programme. All you can hope for with a new fair is to leave work in the city you brought them to, which has been successful. We look forward to next year!”
NOTABLE ATTENDEES
Attendees included representatives from local and international museums and institutions, Cecilia Alemani (High Line Art), Stephanie Barron (Los Angeles County Museum of Art), Nicholas Baume (Public Art Fund),
Naomi Beckwith (Solomon R. Guggenheim Museum), Natalie Bell (MIT List Visual Arts Centre), Katherine Brodbeck (Dallas Museum of Art), Johanna Burton (Museum of Contemporary Art, Los Angeles), Connie
Butler (Moma PS1), Dan Byers (Williams College Museum of Art), Melissa Chiu (Hirshhorn Museum), Erin Christovale (Hammer Museum), Bonnie Clearwater (NSU Art Museum Fort Lauderdale), Kim Conaty
(Whitney Museum of American Art), Vivian Crockett (New Museum), Donna De Salvo (Dia Art Foundation), Nicola Del Roscio (Cy Twombly Foundation and Fondazione Nicola Del Roscio), Tom Eccles (Hessel
Museum of Art), Anne Ellegood (ICA Los Angeles), Massimiliano Gioni (New Museum), RoseLee Goldberg (Performa), Thelma Golden (The Studio Museum in Harlem), Paul Ha (MIT List Visual Arts Centre),
Madeleine Haddon (V&A East), Essence Harden, DJ Hellerman (Museum of Contemporary Art Cleveland), Stefanie Hessler (Swiss Institute), Rujeko Hockley (Whitney Museum of American Art), Max Hollein
(Metropolitan Museum of Art), Jessica Hong (Kemper Museum of Contemporary Art), Min Sun Jeon (Dia Art Foundation), Silvia Karman Cubiñá (Bass Museum of Art), Ruba Katrib (MoMA PS1), Christine Kim (Tate Modern), Nora Lawrence (Storm King Art Center), JeongJin Lee (Leeum Museum of Art), Sook-Kyung Lee (Tate Research Centre), Sungsoo Lee (Hanwha Art Foundation), Nicola Lees (Aspen Art Museum), Pablo Leon de la Barra (Solomon R. Guggenheim Museum), Christopher Lew, Justine Ludwig (Creative Time), Sooa Im McCormick (Cleveland Museum of Art), Daniel Merritt (Aspen Art Museum), Sohrab Mohebbi
(Carnegie Museum of Art), Jessica Morgan (Dia Art Foundation), Humberto Moro (Dia Art Foundation), María Elena Ortiz (Pérez Art Museum Miami ), Daniel S. Palmer (SCAD Museum of Art), Anne Pasternak
(Brooklyn Museum), Alex Poots (The Shed), Renaud Proch (Independent Curators International), Stefano Rabolli Pansera (Bangkok Kunsthalle and Khao Yai Art Forest), José Roca (Hirshhorn Museum), Scott
Rothkopf (Whitney Museum of American Art), Jay Sanders (Artists Space), Paul Schimmel, Amanda Sroka (Institute of Contemporary Art, Los Angeles), Kelly Taxter (Artists Space), Justine Alexandria Tek (Yuz
Museum), Miwako Tezuka (Dib Bangkok), Eguenie Tsai (Brooklyn Museum), Monetta White (Museum of the African Diaspora), and Jess Zhang (Today Art Museum). Prominent art collectors at Frieze New York included Jacky Aizenman, Laurent Asscher, Desiree Barnes, Dale Bennet, Allison Berg, Suzanne Deal Booth, Peter M. Brant, Eileen & Peter Broido, JK Brown, Victoria Burns, Mario Cader-Frech, James Cahn, Richard Chang, Marisa Chearavanont, Max Chen, Elizabeth Chun, Geraldine Chung, Isabel & Agustín Coppel, Aaron Ealy, Cliff Einstein, Anne-Cecilie Engell Speyer, Victoria Espinoza, Dana Farouki, Wendy Fisher, Shelly & Vincent Fremont, Heloisa Genish, Lisa Goodman, Agnes Gund, Karen Hillenburg, Pamela Hornik, Susan & Michael Hort, Pamela Joyner, Kent Kelley, Maureen Kim, Jill & Peter Kraus, John Lee, Miyoung Lee, Woon Kyung Lee, Bert Levitch, Agnes Lew, Nancy Magoon, Christina & Mick Maguire, Eskandar Maleki, Michael & Kim McCarty, Jarl Mohn, Thomas Moore, Donald R. Mullens, Philip Munger, Antonio Murzi, Valeria Napoleone, Tracy O’Brien, Seungho Park, Joan Quinn, Amitha Raman, Olga and Eugenio Re Rebaudengo, Rebecca & Alan Ross, Barbara Ruben, Jen Rubio & Stewart Butterfield, Beth Rudin DeWoody, Biff Ruttenberg, Tony & Elham Salame, Jennifer & Bert Salke, Sarah Schlesinger, Carole Server, Komal Shah, Carla Shen, Courtney Sherrer, Hassan Smith, Terri Smooke, Byoungho Son, Lauren Taschen, Everette Taylor, Rob & Eric Thomas-Suwall, Jamie Tisch, Jon & Lizzie Tisch, Chris Walker, Drew Watson, Conrad Woody, Alda Xue, Ku-Ling Yurman, David Zalaznick, and William Zhao.
The fair further saw notable attendees from literature, entertainment, technology and fashion industries including Josh Abraham, Peter Berg, Georgina Chapman, Cherry Cheng, Anderson Cooper, Michael Cyril Creighton, Sai da Silva, Lisa Edelstein, Ari Emanuel, Clark Gregg, David Alan Grier, Nicky Hilton Rothschild, Katy Hessel, Katie Holmes, Savannah James, Jill Kargman, Daniel Lee, Doug Liman, Felipe Melo, Joe Montana, Colby Mugrabi, Claudia Romo Edelman, Cynthia Rowley, Raf Simons, Karl-Anthony Towns, Brenda Weischer, and Jordyn Woods.
Artists in attendance included Stefania Batoeva, Beeple, Bradley Bell, Zoë Buckman, Tracey Emin, Delfin Finley, Audrey Gair, Ethan James Green, Miles Greenberg, Steven Harrington, Nikita Kadan, Tahir. Karmali, Judy Ledgerwood, Vivian Li, Tyler Mitchell, Matthew Monahan, Takashi Murakami, Jessica Rankin, Robert Russell, CL Salvaro, Eduardo Sarabia, Citra Sasmita, Ilana Savdie, Lara Schnitger, Yehwan Song, Jen Stark, Luana Vitra, and Dustin Yellin. Leo Villareal,
Frieze New York welcomed over 200 local and international museum and institutional groups, including American Academy in Rome, American Friends of the Louvre, Art Gallery of Ontario, Aspen Art Museum, The Bass Museum of Art, Brooklyn Museum, Carnegie Museum of Art, Crystal Bridges Art Museum, Dallas Museum of Art, Harvard Art Museums, Hirshhorn Museum & Sculpture Garden, Hyundai ARTLAB, Istanbul Museum of Modern Art, Leeum Museum of Art, Los Angeles County Museum of Art, The Metropolitan Museum of Art, Museum of Contemporary Art, Los Angeles, Museum of Fine Arts, Boston, Museum of Modern Art, Nasher Museum of Art at Duke University, National Gallery of Art, Palais De Tokyo, Perez Art Museum Miami, Philadelphia Museum of Art, Rockbund Art Museum, Seattle Art Museum, Serpentine Galleries, Smithsonian American Art Museum, Victoria and Albert Museum (V&A), Walker Art Center, Whitney Museum of American Art, Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA), and more.
PRIZES AND ACQUISITIONS
Mitre Galeria (Belo Horizonte) was awarded the 2025 Focus Stand Prize at Frieze New York for its striking solo presentation of work by Luana Vitra. The jury praised the project for its material power and conceptual
depth, highlighting Vitra’s sculptures, ceramics and works on paper that draw on the landscape and history of Minas Gerais in southeastern Brazil. Featuring pieces from a series including The Beads of My Rosary Are
Artillery Bullets, Giro, Abraçadeiras, Amulets – also on view at New York’s Sculpture Centre – and Vanishing with a Blow or Furrow of the Ground, the installation reflects on the physical, sociopolitical and spiritual
significance of iron and soot. Júlia Maria of Mitre Galeria commented: ‘We are incredibly honoured to receive the Focus Stand Prize at Frieze New York with Luana Vitra’s powerful presentation. This recognition is a meaningful milestone, especially as it marks our third year participating in the Focus section. We look forward to bringing our program to the main Gallery section next year, continuing to champion bold and resonant voices from Latin America.’ Honourable mentions went to Gordon Robichaux (New York) for its presentation of work by Jenni Crain
and Yeo Workshop (Singapore) for its installation by Citra Sasmita. This year’s jury comprised Katherine Brodbeck (Dallas Museum of Art), Pablo León de la Barra (Solomon R. Guggenheim Museum), and Dan Byers (Williams College Museum of Art).