nt
nttnt</div>n</div>nttt</div>ntttt</div>n”,”data”:[{“divId”:”gpt-dsk-tab-list-inlistx-uid2″,”displayType”:”medrec”,”targeting”:[{“key”:”pos”,”value”:”btf”},{“key”:”pos”,”value”:”mid”},{“key”:”pos”,”value”:”in-listX”}],”lazyLoad”:”no”,”lazyLoadMultiplier”:2,”zone”:”list/in-listX”,”sizes”:[[300,250],[300,251]]}]}},{“ID”:1234774862,”position”:3,”positionDisplay”:4,”date”:”2026-02-26 22:40:22″,”modified”:”2026-02-26 22:41:00″,”title”:”Uzi Parnes at Gordon Robichaux”,”subtitle”:null,”slug”:”uzi-parnes-at-gordon-robichaux”,”caption”:”Uzi Parnes, Where the Boys Are #49</em>, 1984.”,”description”:”ntttt
nnnnnnn
ntIn the Focus section, Gordon Robichaux has on viewing a series of u201cphoto chandeliersu201d by downtown New York artist Uzi Parnes. They were originally made for his baru2013cumu2013performance space Chandelier, located in Alphabet City, and they have never been exhibited out of that context. In one, Parnes has affixed a small metal car, red feathers, a green army man toy, a miniature bird, and two ornate light bulbs to a gold-and-blue frame. Inside the work is a multiple exposure image showing full frontal nudes of men, superimposed over a photograph of a collapsing pier on the West Side of Manhattan. By turns playful and serious, these sculptures act as reliquaries for a bygone era of downtown New York.</p>n</div>”,”alt”:”A photo of nude men superimposed over a pier inside a frame with two light fixtures, a toy car, and red feathers attached.”,”image_credit”:”Maximilu00edano Duru00f3n/ARTnews”,”url”:”https://www.artnews.com/list/art-news/market/frieze-los-angeles-2026-best-booths-1234774850/”,”image_id”:1234774863,”image”:”https://www.artnews.com/wp-content/uploads/2026/02/parnes.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/parnes.jpg?w=320″,”width”:320,”height”:240},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/parnes.jpg?w=640″,”width”:640,”height”:480},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/parnes.jpg?w=800″,”width”:800,”height”:600},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/parnes.jpg?w=1024″,”width”:1024,”height”:768},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/parnes.jpg?w=1200″,”width”:1200,”height”:900}},”fullWidth”:767,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
nttttt
nttttn
nt
nttnt</div>n</div>nttt</div>ntttt</div>n”,”data”:[{“divId”:”gpt-dsk-tab-list-inlistx-uid3″,”displayType”:”medrec”,”targeting”:[{“key”:”pos”,”value”:”btf”},{“key”:”pos”,”value”:”mid”},{“key”:”pos”,”value”:”in-listX”}],”lazyLoad”:”no”,”lazyLoadMultiplier”:2,”zone”:”list/in-listX”,”sizes”:[[300,250],[300,251]]}]}},{“ID”:1234774866,”position”:4,”positionDisplay”:5,”date”:”2026-02-26 22:42:41″,”modified”:”2026-02-26 22:44:54″,”title”:”Andrew J. Park at Anthony Gallery”,”subtitle”:null,”slug”:”andrew-j-park-at-anthony-gallery”,”caption”:”Work by Andrew J. Park at Anthony Gallery.”,”description”:”
ntttt
nnnnnnn
ntAlso in the Focus section are haunting paintings by Andrew J. Park. The basis for these works is images created through Stable Diffusion, a text-to-image generative AI model. Park said he sees AI image generation as being similar to u201chow our systems dream. They draw from a vast archive of our memories and experiences to create a new experience or image drawn from that data.u201d Once he has the images, heu2019ll typically pull them into Photoshop for further manipulation and digital collaging. For some of them, he even runs them through an old-school CRT TV to given them u201ca VHS artificiality,u201d he said. He then projects them onto his canvas and airbrushed them. He sees the paintings as a way to merge old and new technology. u201cAI is so ubiquitous now that you can generate a million images in 10 minutesu201d with it, he said, u201cwhereas my one painting is handmade and can take several weeks to complete.u201d</p>n</div>”,”alt”:”Three abstract paintings in black tones.”,”image_credit”:”Maximilu00edano Duru00f3n/ARTnews”,”url”:”https://www.artnews.com/list/art-news/market/frieze-los-angeles-2026-best-booths-1234774850/”,”image_id”:1234774867,”image”:”https://www.artnews.com/wp-content/uploads/2026/02/park.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/park.jpg?w=320″,”width”:320,”height”:240},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/park.jpg?w=640″,”width”:640,”height”:480},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/park.jpg?w=800″,”width”:800,”height”:600},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/park.jpg?w=1024″,”width”:1024,”height”:768},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/park.jpg?w=1200″,”width”:1200,”height”:899}},”fullWidth”:768,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
nttttt
nttttn
nt
nttnt</div>n</div>nttt</div>ntttt</div>n”,”data”:[{“divId”:”gpt-dsk-tab-list-inlistx-uid4″,”displayType”:”medrec”,”targeting”:[{“key”:”pos”,”value”:”btf”},{“key”:”pos”,”value”:”mid”},{“key”:”pos”,”value”:”in-listX”}],”lazyLoad”:”no”,”lazyLoadMultiplier”:2,”zone”:”list/in-listX”,”sizes”:[[300,250],[300,251]]}]}},{“ID”:1234774869,”position”:5,”positionDisplay”:6,”date”:”2026-02-26 22:44:25″,”modified”:”2026-02-26 22:45:06″,”title”:”Nikita Gale and rafa esparza at Commonwealth and Council”,”subtitle”:null,”slug”:”nikita-gale-and-rafa-esparza-at-commonwealth-and-council”,”caption”:”Work by Nikita Gale at Commonwealth and Council.”,”description”:”
ntttt
nnnnnnn
ntNikita Gale adapts textiles anew for this booth by Commonwealth and Council. For a new series titled u201cArena,u201d Gale has stretched pieces of velvet curtains across a steel armature in the shape of a rectangular painting, so that it appears that the canvas has been excised and repurposed. Gale has covered the armature with river sand and flecked the curtains with the same material, causing the drapes to appear as though they were freshly excavated. Here, the artist is thinking about the curtain as a partition between a performer and their audience. The sand refers to ancient Roman arenas and the sand that soaked up blood on their floors. LOST ARENA 7 </em>(2026), with its crimson red curtains, drives that point home.</p>nnnn
ntGaleu2019s work resonates with two sculptures by rafa esparza, who is showing two new adobe paintings that jut out from the boothu2019s walls. For these pieces, esparza has excised parts of the painting, giving shape to the trees he paints. These arenu2019t ordinary trees, howeveru2014theyu2019re cruising spots, demarked by notes left by a frequent visitor: u201caquu00ed a las 19:00u201d (here at 5:00pm) and u201cbesameu201d (kiss me). The latter has a sock dangling from one corner, forgotten in the rush of a sexual encounter. A surprise awaits on the verso side, where esparza has painted the sky, with the cutouts now acting as clouds (the white walls of the gallery booth complete the picture). In the sky is a helicopter. Itu2019s a reminder of the surveillance state we live in, and how over-policing affects marginalized communities, especially at a time when ICE raids have ravaged them.</p>n</div>”,”alt”:”Two paintings created from stretched curtaining.”,”image_credit”:”Maximilu00edano Duru00f3n/ARTnews”,”url”:”https://www.artnews.com/list/art-news/market/frieze-los-angeles-2026-best-booths-1234774850/”,”image_id”:1234774870,”image”:”https://www.artnews.com/wp-content/uploads/2026/02/gale.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/gale.jpg?w=320″,”width”:320,”height”:240},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/gale.jpg?w=640″,”width”:640,”height”:480},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/gale.jpg?w=800″,”width”:800,”height”:600},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/gale.jpg?w=1024″,”width”:1024,”height”:768},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/gale.jpg?w=1200″,”width”:1200,”height”:900}},”fullWidth”:767,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
nttttt
nttttn
nt
nttnt</div>n</div>nttt</div>ntttt</div>n”,”data”:[{“divId”:”gpt-dsk-tab-list-inlistx-uid5″,”displayType”:”medrec”,”targeting”:[{“key”:”pos”,”value”:”btf”},{“key”:”pos”,”value”:”mid”},{“key”:”pos”,”value”:”in-listX”}],”lazyLoad”:”no”,”lazyLoadMultiplier”:2,”zone”:”list/in-listX”,”sizes”:[[300,250],[300,251]]}]}},{“ID”:1234774873,”position”:6,”positionDisplay”:7,”date”:”2026-02-26 22:46:55″,”modified”:”2026-02-26 22:46:56″,”title”:”Christina Fernandez at Gallery Luisotti”,”subtitle”:null,”slug”:”christina-fernandez-at-gallery-luisotti”,”caption”:”Work by Christina Fernandez at Gallery Luisotti.”,”description”:”
ntttt
nnnnnnn
ntThe policing of immigrant communities is both directly and indirectly referenced in the work of LA-based photographer Christina Fernandez. Across two walls of Gallery Luisottiu2019s booths, Fernandez is showing u201cManuela Stitchedu201d (1996u20132000), which primarily consists of images of building exteriors. The images are striking on their own, but an embroidery to the right of them provides a clue as to what is actually being pictured. u201cLooking down she saw that her stocking had a run,u201d reads one. u201cLa Migra came like a storm today. The end of a black thread was caught on her heel. It trailed away winding around the corner. She pictured an empty spool and feared they would notice it and find her.u201d</p>nnnn
ntThese storefronts are in fact Los Angeles sweatshops, many of which employed undocumented women. They wereu2014and continue to beu2014frequently raided by immigration agents (La Migra). u201cIt was a thing then, and itu2019s a thing now,u201d Fernandez told ARTnews</em>. u201cThe scapegoating of Mexicans and Mexican labor hasnu2019t changed. Itu2019s a convenient scapegoat, and itu2019s sad to realize that.u201d I asked how she felt showing the work at Frieze, where many might miss what these images were subtly referencing. u201cWhat is it doing here at Frieze? Iu2019m not sure,u201d she said, pausing for a while. u201cExpect that work and the meaning of the work would not have this audience. [Works about] labor showing in such an elite crowd could be problematic. Itu2019s a question I havenu2019t fully answered for myself.u201d</p>n</div>”,”alt”:”Three photographs of storefronts next to another panel with text on it.”,”image_credit”:”Maximilu00edano Duru00f3n/ARTnews”,”url”:”https://www.artnews.com/list/art-news/market/frieze-los-angeles-2026-best-booths-1234774850/”,”image_id”:1234774874,”image”:”https://www.artnews.com/wp-content/uploads/2026/02/fernandez.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/fernandez.jpg?w=320″,”width”:320,”height”:240},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/fernandez.jpg?w=640″,”width”:640,”height”:480},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/fernandez.jpg?w=800″,”width”:800,”height”:600},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/fernandez.jpg?w=1024″,”width”:1024,”height”:768},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/fernandez.jpg?w=1200″,”width”:1200,”height”:900}},”fullWidth”:767,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null}],”galleryCount”:”7″,”galleryID”:”1234774850″,”previousPageLink”:””,”nextPageLink”:””,”template”:”item-featured-image”,”ordering”:”none”,”galleryTitle”:”The Best Booths at Frieze LA, From a Textile Trunk Show to Poignant Commentaries on ICE Raids”,”isList”:”1″,”logo”:[],”i10n”:{“backToArticle”:”Back to Article”,”backToAllGalleries”:”Back to All Galleries”,”backToReview”:”Back to Review”,”backToAllReviews”:”Back to All Reviews”,”thumbnail”:”Thumbnails”,”nextSlide”:”Next Slide”,”prevSlide”:”Previous Slide”,”skipAd”:”Skip Ad”,”skipIn”:”Skip In”,”of”:”of”,”missingSomething”:”You’re missing something!”,”subscribeNow”:”Subscribe Now”,”next”:”Next”,”nextGallery”:”Next Gallery”,”closeThisMessage”:”Close this message”,”closeModal”:”Close Modal”,”closeGallery”:”Close Gallery”,”startSlideShow”:”Start Slideshow”,”lightBox”:”Lightbox”,”scrollUp”:”Scroll Up”,”scrollDown”:”Scroll Down”,”look”:”Look”,”readMore”:”Read More”,”showLess”:”Show Less”,”vertical”:{“photo”:”Photo”}},”ads”:{“rightRailGallery”:{“html”:”t
nttttt
nttttn
nt
nttnt</div>n</div>nttt</div>ntttt</div>n”,”data”:[{“divId”:”gpt-dsk-tab-horizontal-gallery-uid6″,”displayType”:”flexrec”,”targeting”:[{“key”:”pos”,”value”:”top”},{“key”:”pos”,”value”:”atf”},{“key”:”pos”,”value”:”rail-top”},{“key”:”viewable”,”value”:”yes”},{“key”:”pos”,”value”:”top”}],”lazyLoad”:”yes”,”lazyLoadMultiplier”:2,”zone”:”gallery-horizontal/right-rail”,”sizes”:[[300,600],[300,250]]}]}},”adsProvider”:”boomerang”,”railBottomAdRefreshInterval”:”2″,”adhesionAdRefreshInterval”:”2″,”adAfter”:null,”listAdFrequency”:”1″,”socialIconsUseMenu”:”1″,”socialIcons”:{“facebook”:[],”twitter”:[],”pinterest”:[],”tumblr”:[]},”twitterUserName”:”artnews”,”timestamp”:{“date”:”February 26, 2026, 10:49pm”,”datetime”:”2026-02-26T22:49:19-05:00″},”showThumbnails”:””,”siteTitle”:”ARTnews.com”,”siteUrl”:”/”,”pagePermalink”:”https://www.artnews.com/list/art-news/market/frieze-los-angeles-2026-best-booths-1234774850/”,”enableInterstitial”:null,”interstitialAdAfter”:null,”zoom”:””,”pinit”:null,”sponsored”:””,”sponsoredStyle”:[],”runwayMenu”:[],”mobileCloseButton”:””,”galleryFetchUrl”:null,”styles”:{“header-height”:”79px”,”theme-color”:”#d32531″,”vertical-album-image-margin-top”:”0″,”vertical-album-image-margin-right”:”1.25rem”,”vertical-album-image-margin-bottom”:”2.5rem”,”vertical-album-image-margin-left”:”0″,”vertical-headline-font-weight”:700,”vertical-caption-font-weight”:300,”vertical-subtitle-font-weight”:500,”vertical-player-font-weight”:500,”vertical-headline-font-family”:”inherit”,”vertical-caption-font-family”:”inherit”,”vertical-subtitle-font-family”:”inherit”,”vertical-player-font-family”:”inherit”,”vertical-max-image-width”:”inherit”,”horizontal-intro-card-font-family”:”inherit”},”forceSameEnding”:””,”subscriptionsLink”:””,”isMobile”:””,”listItemsPerPage”:”100″,”listItemStyles”:{“rankNumberStyle”:{“backgroundColor”:”#000000″,”color”:”#ffffff”},”videoPlayButtonStyle”:{“fill”:”rgba(0, 0, 0, 0.7)”,”stroke”:”#000000″,”strokeWidth”:”4px”},”videoPlayButtonHoverStyle”:{“stroke”:”#ffffff”,”strokeWidth”:”4px”},”videoPlayButtonIconStyle”:{“fill”:”#ffffff”},”shareButtonStyle”:{“backgroundColor”:”rgba(0, 0, 0, 0.8)”,”borderWidth”:”1px”,”borderColor”:”#444444″},”shareButtonIconStyle”:{“fill”:”#ffffff”},”paginationButtonStyle”:{“color”:”inherit”,”border”:”solid 1px #000″,”padding”:”10px 30px”,”fontWeight”:”700″}},”listNavBar”:{“minimumNumberOfItems”:20,”numberOfRangesAtMinWidth”:{“0″:5,”530″:7,”800″:10},”parentElementQuerySelector”:”.js-Header-contents”,”parentElementStyle”:{“transition”:”margin 250ms ease-in”,”marginBottom”:”55px”,”zIndex”:”9999″,”overflow”:”visible”},”containerElementAttributes”:{“id”:”pmc-gallery-list-nav-bar-container”,”className”:””,”style”:{“transition”:”opacity 500ms ease-in”,”position”:”absolute”,”top”:”100%”,”right”:”0″,”left”:”0″,”width”:”100%”,”height”:”40px”}},”renderElementAttributes”:{“id”:”pmc-gallery-list-nav-bar-render”,”className”:””,”style”:{“backgroundColor”:”#f7f7f7″,”color”:”black”,”height”:”100%”,”fontWeight”:”700″,”display”:”flex”,”alignItems”:”center”,”justifyContent”:”space-evenly”,”textAlign”:”center”,”fontSize”:”0.875rem”}},”rangeElementAttributes”:{“style”:{“color”:”gray”,”padding”:”4px 8px”}},”activeRangeElementAttributes”:{“style”:{“color”:”black”}},”progressBarElementAttributes”:{“style”:{“position”:”absolute”,”bottom”:”0″,”height”:”3px”,”width”:”100%”,”backgroundColor”:”var(–color-brand-primary)”,”transform”:”scaleX(0)”,”transformOrigin”:”left center”,”transition”:”transform 240ms cubic-bezier( 0.215, 0.610, 0.355, 1.000 )”,”willChange”:”transform”}},”generatedRanges”:{“0”:[{“indexStart”:0,”indexEnd”:1,”positionDisplayStart”:1,”positionDisplayEnd”:2,”link”:”https://www.artnews.com/list/art-news/market/frieze-los-angeles-2026-best-booths-1234774850/marley-freeman-and-textile-artifacts-at-parker-gallery”},{“indexStart”:2,”indexEnd”:3,”positionDisplayStart”:3,”positionDisplayEnd”:4,”link”:”https://www.artnews.com/list/art-news/market/frieze-los-angeles-2026-best-booths-1234774850/sharif-farrag-at-jeffrey-deitch”},{“indexStart”:4,”indexEnd”:5,”positionDisplayStart”:5,”positionDisplayEnd”:6,”link”:”https://www.artnews.com/list/art-news/market/frieze-los-angeles-2026-best-booths-1234774850/andrew-j-park-at-anthony-gallery”},{“indexStart”:6,”indexEnd”:6,”positionDisplayStart”:7,”positionDisplayEnd”:7,”link”:”https://www.artnews.com/list/art-news/market/frieze-los-angeles-2026-best-booths-1234774850/christina-fernandez-at-gallery-luisotti”}],”530″:[{“indexStart”:0,”indexEnd”:0,”positionDisplayStart”:1,”positionDisplayEnd”:1,”link”:”https://www.artnews.com/list/art-news/market/frieze-los-angeles-2026-best-booths-1234774850/marley-freeman-and-textile-artifacts-at-parker-gallery”},{“indexStart”:1,”indexEnd”:1,”positionDisplayStart”:2,”positionDisplayEnd”:2,”link”:”https://www.artnews.com/list/art-news/market/frieze-los-angeles-2026-best-booths-1234774850/yvonne-wells-at-fort-gansevoort”},{“indexStart”:2,”indexEnd”:2,”positionDisplayStart”:3,”positionDisplayEnd”:3,”link”:”https://www.artnews.com/list/art-news/market/frieze-los-angeles-2026-best-booths-1234774850/sharif-farrag-at-jeffrey-deitch”},{“indexStart”:3,”indexEnd”:3,”positionDisplayStart”:4,”positionDisplayEnd”:4,”link”:”https://www.artnews.com/list/art-news/market/frieze-los-angeles-2026-best-booths-1234774850/uzi-parnes-at-gordon-robichaux”},{“indexStart”:4,”indexEnd”:4,”positionDisplayStart”:5,”positionDisplayEnd”:5,”link”:”https://www.artnews.com/list/art-news/market/frieze-los-angeles-2026-best-booths-1234774850/andrew-j-park-at-anthony-gallery”},{“indexStart”:5,”indexEnd”:5,”positionDisplayStart”:6,”positionDisplayEnd”:6,”link”:”https://www.artnews.com/list/art-news/market/frieze-los-angeles-2026-best-booths-1234774850/nikita-gale-and-rafa-esparza-at-commonwealth-and-council”},{“indexStart”:6,”indexEnd”:6,”positionDisplayStart”:7,”positionDisplayEnd”:7,”link”:”https://www.artnews.com/list/art-news/market/frieze-los-angeles-2026-best-booths-1234774850/christina-fernandez-at-gallery-luisotti”}],”800″:[{“indexStart”:0,”indexEnd”:0,”positionDisplayStart”:1,”positionDisplayEnd”:1,”link”:”https://www.artnews.com/list/art-news/market/frieze-los-angeles-2026-best-booths-1234774850/marley-freeman-and-textile-artifacts-at-parker-gallery”},{“indexStart”:1,”indexEnd”:1,”positionDisplayStart”:2,”positionDisplayEnd”:2,”link”:”https://www.artnews.com/list/art-news/market/frieze-los-angeles-2026-best-booths-1234774850/yvonne-wells-at-fort-gansevoort”},{“indexStart”:2,”indexEnd”:2,”positionDisplayStart”:3,”positionDisplayEnd”:3,”link”:”https://www.artnews.com/list/art-news/market/frieze-los-angeles-2026-best-booths-1234774850/sharif-farrag-at-jeffrey-deitch”},{“indexStart”:3,”indexEnd”:3,”positionDisplayStart”:4,”positionDisplayEnd”:4,”link”:”https://www.artnews.com/list/art-news/market/frieze-los-angeles-2026-best-booths-1234774850/uzi-parnes-at-gordon-robichaux”},{“indexStart”:4,”indexEnd”:4,”positionDisplayStart”:5,”positionDisplayEnd”:5,”link”:”https://www.artnews.com/list/art-news/market/frieze-los-angeles-2026-best-booths-1234774850/andrew-j-park-at-anthony-gallery”},{“indexStart”:5,”indexEnd”:5,”positionDisplayStart”:6,”positionDisplayEnd”:6,”link”:”https://www.artnews.com/list/art-news/market/frieze-los-angeles-2026-best-booths-1234774850/nikita-gale-and-rafa-esparza-at-commonwealth-and-council”},{“indexStart”:6,”indexEnd”:6,”positionDisplayStart”:7,”positionDisplayEnd”:7,”link”:”https://www.artnews.com/list/art-news/market/frieze-los-angeles-2026-best-booths-1234774850/christina-fernandez-at-gallery-luisotti”}]}},”closeButtonLink”:”/”};
/* ]]> */
Skip to main content
VIP day for this year’s edition of Frieze Los Angeles took place on Thursday morning, and the sunny weather seemed like a good omen. Gone was the glum cloud cast by last year’s wildfires.
From the beginning, the fair was packed with visitors. There’s a slightly new layout this year, which helped make the fair feel less claustrophobic. The fresh layout also created the sense that the fair was well-attended. Certainly, the energy was buzzing.
The 95 exhibitors at the fair brought an abundance of art with them. While many dealers opted for stands that show off a mix of artists in their programs, some went with solo presentations. Painting and sculpture abound, as do textiles, but the most noticeable trend is an uptick in photography compared to past editions of the fair.
Below, a look at the best booths at the 2026 edition of Frieze Los Angeles, which runs through Sunday, March 1, at the Santa Monica Airport.
-
Marley Freeman and Textile Artifacts at Parker Gallery
Image Credit: Maximilíano Durón/ARTnews At most fairs, nearly all the booths look just about the same: a series of white walls with paintings hanging on them, some with sculptures in the center. This is certainly not the formula used by LA’s Parker Gallery, whose booth looks and feels like no other at Frieze. Gallery artist Marley Freeman is showing a series of new paintings, drawing inspiration from Textile Artifacts, an antique textile dealership in LA’s Mid-City neighborhood founded by her father, Paul, in 1990. She and her brother, Jordan, are now involved in the business, which has lent antique textiles and produced replicas for over 100 movies.
For this installation, the Freemans together selected some of their most beloved textiles, which are exhibited hanging, flush from the top of the booth wall. The textiles were made between the 1880s and the 1980s, and were primarily sourced from Europe and New England. Atop these textiles, Marley is showing her abstract paintings. They feature layers of paint in different opacities, give them an illusion of movement that’s amplified by the patterning of the tapestries behind these works.
Paul started collecting textiles in 1979 and eventually began selling them. Over the course of his career, he was a regular at the Brimfield Antique Flea Market in Massachusetts, the country’s largest flea market, and starting in the ’90s, he did several European trade shows a year. “For 15 years, I was on the treadmill,” he told ARTnews during the VIP preview. An art fair is a trade show all the same, after all, and Paul seemed at home as he worked the booth. Paper receipt pad in hand, he was making sales during the first hour.
-
Yvonne Wells at Fort Gansevoort
Image Credit: Maximilíano Durón/ARTnews Right across the entrance to Frieze LA is a cheerful display of quilts by Yvonne Wells. A self-taught quilter, Wells became a teacher in 1965 in Tuscaloosa, Alabama, where she witnessed integration firsthand. Some of her better-known textiles depict scenes related to the civil rights movement, but the ones on view at Frieze show a more playful side of her practice. Dating to between the mid-1990s and 2010, they show pop culture figures, like Marilyn Monroe, Elvis Presley, and Dolly Parton. As with the majority of her works, these quilts are made from reclaimed or reproduced fabric and highlight her deft in juxtaposing patterns. Throughout, Wells adds small fragments of fabric that enhance the charm of these larger-than-life stars. The booth’s floor is covered in a vinyl previewing a work that Wells just finished: a quilt depicting a constellation of stars from US flags.
-
Sharif Farrag at Jeffrey Deitch
Image Credit: Maximilíano Durón/ARTnews Sharif Farrag, who two years ago hosted a memorable artist project on the soccer field outside the fair, delivers a booth that’s just as upbeat as Wells’s. The two dozen ceramics here contain dense configurations that reward extended looking—there’s always something new to spot, it seems. My favorite plinth in the booth comes juxtaposes two cars, a commentary, like much of his work, on the ecosystem of Los Angeles through its well-known iconography. On one end is a white Range Rover, its tinted windows hiding the moneyed person driving, except for cigarette poking out the window. On the other is an open Jeep that shows a much more raucous scene that Farrag loosely based on the people who hustle near his downtown LA studio.
-
Uzi Parnes at Gordon Robichaux
Image Credit: Maximilíano Durón/ARTnews In the Focus section, Gordon Robichaux has on viewing a series of “photo chandeliers” by downtown New York artist Uzi Parnes. They were originally made for his bar–cum–performance space Chandelier, located in Alphabet City, and they have never been exhibited out of that context. In one, Parnes has affixed a small metal car, red feathers, a green army man toy, a miniature bird, and two ornate light bulbs to a gold-and-blue frame. Inside the work is a multiple exposure image showing full frontal nudes of men, superimposed over a photograph of a collapsing pier on the West Side of Manhattan. By turns playful and serious, these sculptures act as reliquaries for a bygone era of downtown New York.
-
Andrew J. Park at Anthony Gallery
Image Credit: Maximilíano Durón/ARTnews Also in the Focus section are haunting paintings by Andrew J. Park. The basis for these works is images created through Stable Diffusion, a text-to-image generative AI model. Park said he sees AI image generation as being similar to “how our systems dream. They draw from a vast archive of our memories and experiences to create a new experience or image drawn from that data.” Once he has the images, he’ll typically pull them into Photoshop for further manipulation and digital collaging. For some of them, he even runs them through an old-school CRT TV to given them “a VHS artificiality,” he said. He then projects them onto his canvas and airbrushed them. He sees the paintings as a way to merge old and new technology. “AI is so ubiquitous now that you can generate a million images in 10 minutes” with it, he said, “whereas my one painting is handmade and can take several weeks to complete.”
-
Nikita Gale and rafa esparza at Commonwealth and Council
Image Credit: Maximilíano Durón/ARTnews Nikita Gale adapts textiles anew for this booth by Commonwealth and Council. For a new series titled “Arena,” Gale has stretched pieces of velvet curtains across a steel armature in the shape of a rectangular painting, so that it appears that the canvas has been excised and repurposed. Gale has covered the armature with river sand and flecked the curtains with the same material, causing the drapes to appear as though they were freshly excavated. Here, the artist is thinking about the curtain as a partition between a performer and their audience. The sand refers to ancient Roman arenas and the sand that soaked up blood on their floors. LOST ARENA 7 (2026), with its crimson red curtains, drives that point home.
Gale’s work resonates with two sculptures by rafa esparza, who is showing two new adobe paintings that jut out from the booth’s walls. For these pieces, esparza has excised parts of the painting, giving shape to the trees he paints. These aren’t ordinary trees, however—they’re cruising spots, demarked by notes left by a frequent visitor: “aquí a las 19:00” (here at 5:00pm) and “besame” (kiss me). The latter has a sock dangling from one corner, forgotten in the rush of a sexual encounter. A surprise awaits on the verso side, where esparza has painted the sky, with the cutouts now acting as clouds (the white walls of the gallery booth complete the picture). In the sky is a helicopter. It’s a reminder of the surveillance state we live in, and how over-policing affects marginalized communities, especially at a time when ICE raids have ravaged them.
-
Christina Fernandez at Gallery Luisotti
Image Credit: Maximilíano Durón/ARTnews The policing of immigrant communities is both directly and indirectly referenced in the work of LA-based photographer Christina Fernandez. Across two walls of Gallery Luisotti’s booths, Fernandez is showing “Manuela Stitched” (1996–2000), which primarily consists of images of building exteriors. The images are striking on their own, but an embroidery to the right of them provides a clue as to what is actually being pictured. “Looking down she saw that her stocking had a run,” reads one. “La Migra came like a storm today. The end of a black thread was caught on her heel. It trailed away winding around the corner. She pictured an empty spool and feared they would notice it and find her.”
These storefronts are in fact Los Angeles sweatshops, many of which employed undocumented women. They were—and continue to be—frequently raided by immigration agents (La Migra). “It was a thing then, and it’s a thing now,” Fernandez told ARTnews. “The scapegoating of Mexicans and Mexican labor hasn’t changed. It’s a convenient scapegoat, and it’s sad to realize that.” I asked how she felt showing the work at Frieze, where many might miss what these images were subtly referencing. “What is it doing here at Frieze? I’m not sure,” she said, pausing for a while. “Expect that work and the meaning of the work would not have this audience. [Works about] labor showing in such an elite crowd could be problematic. It’s a question I haven’t fully answered for myself.”