The Armory Show is New York City’s longest art fair, so it’s a bit disappointing to see it perform at the Jacob K.J. Javitz Convention Center in recent years. The show, originally hosted by the intimate Gramercy Park hotel, now lives hardly inhabiting such spongy glass undulating places, seems to be more driven than the effect entered. Is Frieze’s Armory at the Javits Center because it’s the only building on Manhattan Island worse than a shed? This does make their brand fair venue look better by comparison. What is memorable by Emily Gould is that Javits “has no scheduled departure event” and despite the ridiculous proportions, the building still induces claustrophobia if the art is not good. But the art this year is simply good – in fact, it may be the opposite of the bad guys. The following are the five works that talked to me the most, and it is worth noting that these five are the five I like.
Taruk, mtisklaah_enecs_lanif_eht (2025), White Cube
Usually, Blue Chip Gallery organizes their art fair stalls, the way curbside diners organize menus. They like its density and diversity to a kind of enjoyment that allows visitors to know about every treat from Souvlaki to French chicken toast. The white cube was sent to Ivana Vukšić and Bruno Pogačnik Tremow, also known as the artist duo. It’s hard to choose a favorite because all are well executed and unique. In this way and others, they remind me of the Metropolitan Museum of Art’s recent exhibition “Siena: The Rise of Painting, 1300-1350,” which fits the title’s commitment to explaining the locality of the medium. Here we see Tarwuk discussing contemporary issues using these older dialects. This painting I chose saw a wide variety of characters around a striking crater, like X, aka Twitter, aka All apps. They can’t control their revelation, but everyone wears a very attractive and customizable way.
Nikita Gale, Interceptor (2025), 56 Henry
Two disclosures: I worked with Bridget Finn and Love Ellie Rines, both of whom were major champions of Nikita Gale. But you don’t need to favor this job. Almost everyone wandered around. I think if I’m going to complain about too much construction, that’s what I should praise the work first – this is the stall you can’t get into. It tells the obvious love-hate relationship between us and the fair, no matter where they play. Speaking of stages, this work brings the wind back to the materials and themes that tend to run in her work, which is interested in the technical aesthetic of audio production. You can’t be so good in this picture, but hang from casual and organic angles in the wires of those meat. 56 The language on Henry’s website seems to imply that this work also caused the roadblock of the French Revolution, but that was not true to me. I think in recent years you have proven that there is little you can do with modern Americans, which will cause them to rebel.
RF. Alvarez, We’re still here! (2025), Martha
I showed a photo of the work to my friend at the opening ceremony and she asked, “It was a scene sinner? “It’s a fair enough question, but everyone is secretly gay, but is inspired by Paul Cadmus’ famous and excellent. The fleet is in! (1934), “One of the earliest known cases of censorship by gay American artists”, according to the development of the Metropolitan. One of the clever queer elements of this work is through the proposition of cigarettes, so the artist himself appears in the center, illuminating another’s cigarette. Even if you don’t care about identity politics, it’s one of the many things about this painting alone. Alvarez first paints the entire surface black and then seems to enjoy the challenge of solving this problem. Everyone’s clothes and skin seem to be pressed against them as their light explores. Look at the glittering at the edge of the pool table.
Brittney Leeanne Williams, Interrupt 8: Integration (2025), Alexander Berggruen
Red is a difficult color. Many painters avoid the idiotic collectors because it is too dominant. Williams did not fight the power of red and chose to mitigate it with Trompe l’Oeil. Her fold is so realistic that when you first approach it you don’t even think it’s surreal. You will see rocks, clothes and reflections, and your brain records this life-size outline as a person. It’s a dramatic film without any faces. It hints at the cover of 1990s romantic novels, or suggests stained glass windows. The robe does look like a Jesuit-wedding dress, and the light source seems to indicate that it comes from a head that does not exist. How dark and shiny the work has become, it’s fascinating. This seems to suggest that this work may be many different ways if it wants to be
Joel Gaitan, Portadora de Ibeyi (2025), pit
There are many similar pseudo-media characters on this stall, which are deeply rooted in the Nicaraguan heritage of Miami artists, but this should appeal to anyone who likes sculpture, ceramics, or blue colors. What I like about the symmetry of this piece is that it breaks in the fat folds of the belly, the lower breasts and the curious golden snake scarf, both sides are not exactly the same. It adds to the undeniable charm of the creature. The title of the sculpture is transformed into “The Carrier of Twins”, they are exactly the same, upset. But the smile of the bearer is the point of this. She couldn’t destroy anything that seemed to happen in this work. The shades and textures combine nicely here, and it is best to note the way the skin is soaked in the golden sauce. It’s about order, chaos and how people respond to them.
