Three paintings by Amir H. Fallah on view in the Focus section in the booth of New York’s Denny Dimin Gallery. To create these compositions, Fallah said that he visits the homes of his sitters and does informal interviews with them to learn about their lives and the objects they surround themselves with. He then will pose the create a still-life of sorts with them at the center and cover the subject with a sheet and photograph them.
In the two-part installation Breaking News: The Flooding of the Louvre, presented by Berlin’s Galerie Kornfeld in the Focus section, artist Tezi Gabunia imagines the flooding of a gallery featuring work by Peter Paul Rubens at the French museum.
A visitor to the 2020 Armory Show looks at Tezi Gabunia’s installation Breaking News: The Flooding of the Louvre, in Galerie Kornfeld’s Focus booth.
Los Angeles’s Charlie James Gallery sold a new work by Patrick Martinez for $35,000.
Los Angeles’s Charlie James Gallery sold a new work by Patrick Martinez for $35,000.
Houston-based artist Jamal Cyrus in front of his Pride Frieze—Jerry White’s Record Shop, Central Avenue, Los Angeles (2005–17), part of a solo presentation of work by the artist brought to the Armory Show by Houston’s Inman Gallery. In his work, Cyrus mixes fact and fiction: the installation is based on a real record store in South L.A. that displays, at top, the 20 records released by the fictional Pride Records, which the artist said focused on releasing music by African-American artists and was eventually targeted by the FBI.
Mexico City’s Proyectos Monclova had on offer 18 inkjet prints from a series by Chantal Peñalosa that were being sold as one work. The artist photographed the same cloud on both sides of the U.S.-Mexico border.
Creative Capital executive director Suzy Delvalle looks at Raul Mourão’s massive swinging sculpture in Cor-ten steel, titled X #05 (2020), in the booth of Galeria Nara Roesler, which has locations in São Paulo, Rio de Janeiro, and New York.
One of the two entrances to David Shrigley’s A Cabinet of Curiosity in the booth of London’s Stephen Friedman Gallery. Though the gate reads “TO BE KEPT SHUT,” it was left ajar for visitors to see more of Shrigley’s work.
Joseph Kosuth’s 1989 silkscreen-on-plywood work ‘No Number (E) (+216 Augustine’s Confessions)’ reads: “There is a particular difficulty when the signs don’t appear to say what the thought grasps, or the words don’t say what the thought appears to grasp.”
Installation view of Berlin’s Dittrich & Schlechtriem gallery with Alfredo Aceto’s Laughing Window II (2019), at left, featuring big lips on a gold background, and Robert Lazzarini’s sculpture police barricade from 2019, at right.
For a 2019 exhibition at Hales Gallery’s New York location, Sunil Gupta reprinted several photographs from his “Christopher Street” series, which he shot in 1976 shortly after moving to New York City. The artist had been born in India and moved to Canada as a teenager, but not until he arrived in a post-Stonewall, pre-AIDS Greenwich Village that he first saw openly gay people, Hales cofounder Paul Maslin said.
![Liliana Porter's Tejedora [Weaver], from 2017, shows a small figure in pink on a wooden bench sewing a much larger mess of pink cloth with a rose pattern.](https://www.artnews.com/wp-content/uploads/2020/03/GLC00986.jpg?w=400)
Houston-based gallery Sicardi Ayers Bacino had several works by Liliana Porter, including Tejedora [Weaver], from 2017, which was also included in the artist’s recent traveling retrospective.
In its booth, New York’s James Cohan Gallery had works on offer by many of the artists it represents, including Firelei Báez’s 2020 painting Untitled (Temple of Time), which was on sale for $170,000.
Lina Iris Viktor’s 2020 painting En Archē En Khoas (In the beginning was Chaos) made of pure 24-karat gold, acrylic paint, pigment, gesso, and varnish on linen, installed on a green wall in the booth of Chicago’s Mariane Ibrahim gallery.
San Francisco’s Hackett Mill booth had works on offer by various artists, including, at left, a sculpture of a crocodile by David Beck.
Andrea Bower’s text-based neon work, Climate Change is Real (Multiple), from 2017, is on offer in the booth of New York’s Andrew Kreps Gallery.
A work by Mehdi Ghadyanloo in the booth of the Tehran-based gallery Dastan’s Basement, in the Presents section of the Armory Show.
New York’s Garth Greenan Gallery has a solo presentation from the 1970s by Alexis Smith featuring works drawn onto the walls and a series of collages, under the title “U.S.A.: Alexis Smith, 1971–1980.”
New York gallery DC Moore had a solo presentation of works by Whitfield Lovell.
Marnie Weber’s Pig Host Sculpture (2009), presented by Simon Lee Gallery, which has locations in London, New York, and Hong Kong, is one of several Platform installations throughout the fair. The work is on view behind the main ticket booth on Pier 94, and the sculpture seems like it could get up and start walking at any minute.