{"id":1643989,"date":"2026-05-05T12:29:08","date_gmt":"2026-05-05T16:29:08","guid":{"rendered":"https:\/\/observer.com\/?p=1643989"},"modified":"2026-05-05T12:29:08","modified_gmt":"2026-05-05T16:29:08","slug":"arts-interview-christine-messineo-frieze-new-york-preview","status":"publish","type":"post","link":"https:\/\/observer.com\/2026\/05\/arts-interview-christine-messineo-frieze-new-york-preview\/","title":{"rendered":"How Frieze New York Is Doubling Down On Engagement and Institutional Reach"},"content":{"rendered":"<div class=\"flex max-w-full flex-col gap-4 grow\">\n<div class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal outline-none keyboard-focused:focus-ring [.text-message+&amp;]:mt-1\" dir=\"auto\" data-message-author-role=\"assistant\" data-message-id=\"46d1a8fc-758f-46a8-a8a6-830b655b119d\" data-turn-start-message=\"true\" data-message-model-slug=\"gpt-5-3\">\n<div class=\"flex w-full flex-col gap-1 empty:hidden\">\n<div class=\"markdown prose dark:prose-invert w-full wrap-break-word light markdown-new-styling\">\n<figure id=\"attachment_1644283\" aria-describedby=\"caption-attachment-1644283\" style=\"width: 970px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" class=\"wp-image-1644283 size-full-width\" src=\"https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Frieze-New-York-2025-2.jpg?quality=80&amp;w=970\" alt=\"Visitors walk along an elevated outdoor path toward a large, modern, faceted building surrounded by trees and city structures.\" width=\"970\" height=\"647\" srcset=\"https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Frieze-New-York-2025-2.jpg 3600w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Frieze-New-York-2025-2.jpg?resize=300,200 300w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Frieze-New-York-2025-2.jpg?resize=768,512 768w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Frieze-New-York-2025-2.jpg?resize=635,423 635w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Frieze-New-York-2025-2.jpg?resize=1536,1024 1536w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Frieze-New-York-2025-2.jpg?resize=2048,1365 2048w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Frieze-New-York-2025-2.jpg?resize=970,647 970w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Frieze-New-York-2025-2.jpg?resize=320,213 320w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Frieze-New-York-2025-2.jpg?resize=1920,1280 1920w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Frieze-New-York-2025-2.jpg?resize=50,33 50w\" sizes=\"(max-width: 768px) 135px, 200px\" \/><figcaption id=\"caption-attachment-1644283\" class=\"wp-caption-text\">Each year, Frieze anchors New York City&#8217;s spring art week. <span class=\"media-credit\">Casey Kelbaugh\/CKA<\/span><\/figcaption><\/figure>\n<p>There are now more than eight fairs overlapping in New York in May, but Frieze New York remains the undisputed anchor of the city&#8217;s art week\u2014the event around which everything orbits. Arguably the most important art fair in the U.S. and one of the leading fairs in the Americas, it returns to The Shed from Wednesday, May 13 to Sunday, May 17 with an expanded citywide program of live performances and site-specific installations that&#8217;s part of a debut partnership with the Whitney, Dia Art Foundation and Counterpublic.<\/p>\n<p>Frieze New York&#8217;s 15th edition will bring together more than 65 global galleries, with a special focus this year on both established and emerging voices from Latin America, selected after welcoming new gallery committee members from the region\u2014F\u00e1tima Gonz\u00e1lez of Campeche and Omayra Alvarado of Instituto de Visi\u00f3n. Ahead of this new edition, Observer spoke with Christine Messineo, the fair&#8217;s director and head of Frieze Americas, to learn about the vision and priorities that have shaped the 2026 edition.<\/p>\n<p>Frieze&#8217;s U.S. portfolio now includes more than one fair, with The Armory Show part of the ecosystem and a second fair operating in the same city. When asked what still differentiates Frieze New York today, Messineo explains that the fair&#8217;s unique strength lies in its timing and geography. &#8220;The proximity to Chelsea and Manhattan&#8217;s galleries is really important to the fair&#8217;s success, as much as its scale,&#8221; she explains, noting that since its move to The Shed, Frieze New York has deliberately opted for a more boutique format that prioritizes quality over quantity. &#8220;It&#8217;s very manageable and very connected to what&#8217;s happening throughout the city. That happens naturally through geography\u2014you can walk the High Line from The Shed to the Whitney or down into Chelsea\u2014but it also happens in the way we&#8217;ve embedded programming this year.&#8221;<\/p>\n<figure id=\"attachment_1644280\" aria-describedby=\"caption-attachment-1644280\" style=\"width: 970px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" class=\"lazyload wp-image-1644280 size-full-width\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Christine-Messineo-BFA-courtesy-brendon-cook-bfacom-e1777998144433.jpg?quality=80&amp;w=970\" alt=\"A woman wearing a black cap and dark outfit sits beside a wooden counter in a softly lit interior with a glass partition and patterned window behind her.\" width=\"970\" height=\"771\" \/><noscript><img decoding=\"async\" class=\"lazyload wp-image-1644280 size-full-width\" src=\"https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Christine-Messineo-BFA-courtesy-brendon-cook-bfacom-e1777998144433.jpg?quality=80&amp;w=970\" alt=\"A woman wearing a black cap and dark outfit sits beside a wooden counter in a softly lit interior with a glass partition and patterned window behind her.\" width=\"970\" height=\"771\" \/><\/noscript><figcaption id=\"caption-attachment-1644280\" class=\"wp-caption-text\">Christine Messineo. <span class=\"media-credit\">Brendon Cook\/BFA.com<\/span><\/figcaption><\/figure>\n<p>New York, she says, is such a large, geographically complex city that there is certainly room for other fairs. &#8220;We all have different visions, we encounter different audiences, and we have different galleries participating. I think it all supports a larger ecosystem around culture and art in New York.&#8221;<\/p>\n<p>Nonetheless, Frieze&#8217;s move to The Shed has not been without criticism, with many still lamenting that the venue is not ideally suited to a fair. Its mall-like, multilevel structure, connected by escalators, has drawn complaints about a lack of fluidity, with critics saying it creates a fragmented, dispersed experience. Many visitors still miss the tent on Randall&#8217;s Island, which, despite being difficult to reach, created a more intentional journey and a distinct, immersive fair-bubble experience that discouraged quick, distracted consumption.<\/p>\n<p>According to Messineo, the fair has continued to refine the visitor experience, particularly in terms of circulation to ensure engagement across all levels, rather than concentrating attention on the main floor, which is typically dominated by blue-chip galleries. The deliberately contained scale helps. &#8220;Because the fair is so manageable, I don&#8217;t think people miss parts of it, but we&#8217;re always thinking about how the venue shapes the experience,&#8221; she says, noting that one strategy has been to engage more deeply with both the venue&#8217;s identity and New York&#8217;s history while expanding the role of performance within the fair.<\/p>\n<p>This year, a series of collaborations extends the fair well beyond traditional booth presentations. The first is with Counterpublic, a triennial in St. Louis known for focusing on artistic practices that move beyond traditional object-based presentations. From them, Frieze commissioned a new project by Ogl\u00e1la Lak\u021f\u00f3ta artist Kite, whose work incorporates symbolic elements that function almost like a musical composition. Titled <i>W\u00edha\u014byablapi (of St. Louis)<\/i> (2026), the work offers a preview of the third triennial edition &#8220;Counterpublic 2026: Coyote Time,&#8221; curated by Jordan Carter, Raphael Fonseca, Stefanie Hessler, Nora N. Khan and Wanda Nanibush. During Frieze, musicians will move through the space performing these compositions, introducing an element that departs from conventional expectations and adds a more performative, unexpected dimension.<\/p>\n<figure id=\"attachment_1644290\" aria-describedby=\"caption-attachment-1644290\" style=\"width: 970px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" class=\"lazyload wp-image-1644290 size-full-width\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Kite-8216Wicha\u021fpi-Woihanbleya-Dreamlike-Star8217-1.jpg?quality=80&amp;w=970\" alt=\"A performer kneels on a reflective surface scattered with stones, silhouetted against a vivid blue projection filled with abstract symbols and constellations.\" width=\"970\" height=\"647\" data-srcset=\"https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Kite-8216Wicha\u021fpi-Woihanbleya-Dreamlike-Star8217-1.jpg 1800w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Kite-8216Wicha\u021fpi-Woihanbleya-Dreamlike-Star8217-1.jpg?resize=300,200 300w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Kite-8216Wicha\u021fpi-Woihanbleya-Dreamlike-Star8217-1.jpg?resize=768,512 768w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Kite-8216Wicha\u021fpi-Woihanbleya-Dreamlike-Star8217-1.jpg?resize=635,424 635w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Kite-8216Wicha\u021fpi-Woihanbleya-Dreamlike-Star8217-1.jpg?resize=1536,1025 1536w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Kite-8216Wicha\u021fpi-Woihanbleya-Dreamlike-Star8217-1.jpg?resize=970,647 970w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Kite-8216Wicha\u021fpi-Woihanbleya-Dreamlike-Star8217-1.jpg?resize=320,214 320w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Kite-8216Wicha\u021fpi-Woihanbleya-Dreamlike-Star8217-1.jpg?resize=50,33 50w\" sizes=\"(max-width: 768px) 135px, 200px\" \/><noscript><img decoding=\"async\" class=\"lazyload wp-image-1644290 size-full-width\" src=\"https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Kite-8216Wicha\u021fpi-Woihanbleya-Dreamlike-Star8217-1.jpg?quality=80&amp;w=970\" alt=\"A performer kneels on a reflective surface scattered with stones, silhouetted against a vivid blue projection filled with abstract symbols and constellations.\" width=\"970\" height=\"647\" srcset=\"https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Kite-8216Wicha\u021fpi-Woihanbleya-Dreamlike-Star8217-1.jpg 1800w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Kite-8216Wicha\u021fpi-Woihanbleya-Dreamlike-Star8217-1.jpg?resize=300,200 300w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Kite-8216Wicha\u021fpi-Woihanbleya-Dreamlike-Star8217-1.jpg?resize=768,512 768w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Kite-8216Wicha\u021fpi-Woihanbleya-Dreamlike-Star8217-1.jpg?resize=635,424 635w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Kite-8216Wicha\u021fpi-Woihanbleya-Dreamlike-Star8217-1.jpg?resize=1536,1025 1536w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Kite-8216Wicha\u021fpi-Woihanbleya-Dreamlike-Star8217-1.jpg?resize=970,647 970w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Kite-8216Wicha\u021fpi-Woihanbleya-Dreamlike-Star8217-1.jpg?resize=320,214 320w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Kite-8216Wicha\u021fpi-Woihanbleya-Dreamlike-Star8217-1.jpg?resize=50,33 50w\" sizes=\"(max-width: 768px) 135px, 200px\" \/><\/noscript><figcaption id=\"caption-attachment-1644290\" class=\"wp-caption-text\">Counterpublic, one of the largest public art exhibitions in the U.S., will present a new commission and performance by Kite at the fair. <span class=\"media-credit\">Photo: Melissa Blackall<\/span><\/figcaption><\/figure>\n<p>There is also a collaboration with the Whitney Museum. For Messineo, it was important for the fair to forge a link with the <a href=\"https:\/\/observer.com\/2026\/03\/art-whitney-biennial-review-fracture-trauma-renewal-america\/\" data-lasso-id=\"2949231\">Whitney Biennial, a defining moment in the contemporary art calendar<\/a> and a key framework through which many audiences understand current artistic developments. This year, the fair is collaborating with Jonathan Gonz\u00e1lez, an artist included in the Biennial who works across choreography and photography. Unfolding over three days (May 15-17) during Frieze New York, his <i>magic hour\u2013golden time<\/i> will consist of three-hour durational performances across the Whitney&#8217;s terraces and surrounding urban landscape\u2014spanning platforms, decks and observatories\u2014so that it can be experienced from multiple vantage points throughout the surrounding urban environment, including from the High Line, nearby restaurants, inside the museum itself and from the street.<\/p>\n<p data-start=\"5297\" data-end=\"5732\">&#8220;There&#8217;s a kind of &#8216;acceptable nosiness&#8217; in New York\u2014when you walk along the High Line and glimpse into apartments, seeing fragments of people&#8217;s lives. His work plays with that idea of observation and audience,&#8221; Messineo observes, explaining how Gonz\u00e1lez&#8217;s work will extend inside the fair as well, where he will present <i>Body Configurations<\/i> (2023-2025), a photographic installation of six C-prints combining three Super 8 transfers and digital images, accompanied by placards prompting viewers to become aware of their bodies in relation to architecture. Performer Alexis De La Rosa will move around the installation, engaging in closed-eye improvisations rooted in Authentic Movement, a practice emphasizing intuition, sensation and internally driven action. The entire intervention aims to test the relationship between figure, architecture and site, and between embodiment and perception.<\/p>\n<figure id=\"attachment_1644289\" aria-describedby=\"caption-attachment-1644289\" style=\"width: 970px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" class=\"lazyload wp-image-1644289 size-full-width\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Jonathan-Gonzalez-The-Whitney-Museum-of-American-Art.jpg?quality=80&amp;w=970\" alt=\"A foggy, dimly lit exterior scene shows the silhouette of a building with balconies and railings partially obscured by mist.\" width=\"970\" height=\"776\" data-srcset=\"https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Jonathan-Gonzalez-The-Whitney-Museum-of-American-Art.jpg 3000w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Jonathan-Gonzalez-The-Whitney-Museum-of-American-Art.jpg?resize=300,240 300w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Jonathan-Gonzalez-The-Whitney-Museum-of-American-Art.jpg?resize=768,614 768w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Jonathan-Gonzalez-The-Whitney-Museum-of-American-Art.jpg?resize=635,508 635w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Jonathan-Gonzalez-The-Whitney-Museum-of-American-Art.jpg?resize=1536,1229 1536w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Jonathan-Gonzalez-The-Whitney-Museum-of-American-Art.jpg?resize=2048,1638 2048w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Jonathan-Gonzalez-The-Whitney-Museum-of-American-Art.jpg?resize=970,776 970w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Jonathan-Gonzalez-The-Whitney-Museum-of-American-Art.jpg?resize=320,256 320w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Jonathan-Gonzalez-The-Whitney-Museum-of-American-Art.jpg?resize=1920,1536 1920w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Jonathan-Gonzalez-The-Whitney-Museum-of-American-Art.jpg?resize=50,40 50w\" sizes=\"(max-width: 768px) 135px, 200px\" \/><noscript><img decoding=\"async\" class=\"lazyload wp-image-1644289 size-full-width\" src=\"https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Jonathan-Gonzalez-The-Whitney-Museum-of-American-Art.jpg?quality=80&amp;w=970\" alt=\"A foggy, dimly lit exterior scene shows the silhouette of a building with balconies and railings partially obscured by mist.\" width=\"970\" height=\"776\" srcset=\"https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Jonathan-Gonzalez-The-Whitney-Museum-of-American-Art.jpg 3000w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Jonathan-Gonzalez-The-Whitney-Museum-of-American-Art.jpg?resize=300,240 300w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Jonathan-Gonzalez-The-Whitney-Museum-of-American-Art.jpg?resize=768,614 768w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Jonathan-Gonzalez-The-Whitney-Museum-of-American-Art.jpg?resize=635,508 635w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Jonathan-Gonzalez-The-Whitney-Museum-of-American-Art.jpg?resize=1536,1229 1536w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Jonathan-Gonzalez-The-Whitney-Museum-of-American-Art.jpg?resize=2048,1638 2048w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Jonathan-Gonzalez-The-Whitney-Museum-of-American-Art.jpg?resize=970,776 970w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Jonathan-Gonzalez-The-Whitney-Museum-of-American-Art.jpg?resize=320,256 320w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Jonathan-Gonzalez-The-Whitney-Museum-of-American-Art.jpg?resize=1920,1536 1920w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Jonathan-Gonzalez-The-Whitney-Museum-of-American-Art.jpg?resize=50,40 50w\" sizes=\"(max-width: 768px) 135px, 200px\" \/><\/noscript><figcaption id=\"caption-attachment-1644289\" class=\"wp-caption-text\">Jonathan Gonz\u00e1lez will bring performance and photographic work to both the Whitney and Frieze. <span class=\"media-credit\">Courtesy the artist<\/span><\/figcaption><\/figure>\n<p>Artists currently included in the Whitney Biennial will also be present at Frieze New York, with London-based Emalin showcasing new works by Sung Tieu and Alexander Gray Associates featuring Kamrooz Aram, while Mendes Wood DM will present a new suite of drawings by Precious Okoyomon, who is also part of the New Museum reopening show.<\/p>\n<p>Meanwhile, Dia Foundation will present a focused selection of moving-image works by Conceptual Argentine artist David Lamelas at The Shed, coinciding with his first comprehensive New York survey at Dia Chelsea. The presentation at Frieze New York is anchored by <i>To Pour Milk into a Glass<\/i> (1972), a 16mm film made in London that perfectly reflects Lamelas&#8217;s interest in framing, language and the circulation of information, using the simple act of pouring milk as a conceptual structure and a category-subversive pretext for thinking about &#8220;container&#8221; and &#8220;contents.&#8221; Also on view will be his ongoing &#8220;Time as Activity&#8221; (1969-) series, comprising videos set in cities where he has lived or exhibited, treating time as both subject and material, with the camera functioning as a recording device for lived duration.<\/p>\n<p>This inside-out relationship, which opens the fair into public space and activates the entire district, feels central to Messineo&#8217;s more curatorial, institutionally focused vision for Frieze New York going forward. &#8220;Institutions are always active during fair week, but we wanted to think about what deeper alignment could look like,&#8221; she explains, emphasizing that strengthening relationships with institutions has been a key priority. &#8220;That level of cross-programming is something we haven&#8217;t really seen before in a fair context.&#8221;<\/p>\n<p>These initiatives bring institutions into the fair as active participants through their presence and programming, and vice versa. Both Gonz\u00e1lez&#8217;s and Kite&#8217;s works are new commissions supported by Frieze. &#8220;We&#8217;ve been increasingly investing in new bodies of work\u2014supporting artists directly. We&#8217;ve done that in L.A., Chicago and New York,&#8221; Messineo explains, noting that while Frieze operates within the marketplace, it is also aware of its role in amplifying visibility for artists, curators and galleries who may not yet have a large public profile. &#8220;I&#8217;ve learned at Frieze is that we&#8217;re often supporting artists, curators and galleries at critical moments\u2014maybe it&#8217;s their first time at a fair or moving from Focus into the main section. We&#8217;re very invested in sustaining those relationships.&#8221;<\/p>\n<figure id=\"attachment_1644288\" aria-describedby=\"caption-attachment-1644288\" style=\"width: 970px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" class=\"lazyload wp-image-1644288 size-full-width\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/David-Lamelas-Dia-Art-Foundation.jpg?quality=80&amp;w=970\" alt=\"A stream of milk pours into a glass on a wooden surface, overflowing and spilling down the sides and across the table.\" width=\"970\" height=\"826\" data-srcset=\"https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/David-Lamelas-Dia-Art-Foundation.jpg 3543w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/David-Lamelas-Dia-Art-Foundation.jpg?resize=300,255 300w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/David-Lamelas-Dia-Art-Foundation.jpg?resize=768,654 768w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/David-Lamelas-Dia-Art-Foundation.jpg?resize=635,541 635w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/David-Lamelas-Dia-Art-Foundation.jpg?resize=1536,1308 1536w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/David-Lamelas-Dia-Art-Foundation.jpg?resize=2048,1743 2048w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/David-Lamelas-Dia-Art-Foundation.jpg?resize=970,826 970w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/David-Lamelas-Dia-Art-Foundation.jpg?resize=320,272 320w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/David-Lamelas-Dia-Art-Foundation.jpg?resize=1920,1634 1920w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/David-Lamelas-Dia-Art-Foundation.jpg?resize=50,43 50w\" sizes=\"(max-width: 768px) 135px, 200px\" \/><noscript><img decoding=\"async\" class=\"lazyload wp-image-1644288 size-full-width\" src=\"https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/David-Lamelas-Dia-Art-Foundation.jpg?quality=80&amp;w=970\" alt=\"A stream of milk pours into a glass on a wooden surface, overflowing and spilling down the sides and across the table.\" width=\"970\" height=\"826\" srcset=\"https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/David-Lamelas-Dia-Art-Foundation.jpg 3543w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/David-Lamelas-Dia-Art-Foundation.jpg?resize=300,255 300w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/David-Lamelas-Dia-Art-Foundation.jpg?resize=768,654 768w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/David-Lamelas-Dia-Art-Foundation.jpg?resize=635,541 635w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/David-Lamelas-Dia-Art-Foundation.jpg?resize=1536,1308 1536w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/David-Lamelas-Dia-Art-Foundation.jpg?resize=2048,1743 2048w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/David-Lamelas-Dia-Art-Foundation.jpg?resize=970,826 970w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/David-Lamelas-Dia-Art-Foundation.jpg?resize=320,272 320w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/David-Lamelas-Dia-Art-Foundation.jpg?resize=1920,1634 1920w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/David-Lamelas-Dia-Art-Foundation.jpg?resize=50,43 50w\" sizes=\"(max-width: 768px) 135px, 200px\" \/><\/noscript><figcaption id=\"caption-attachment-1644288\" class=\"wp-caption-text\">At the fair, Dia will present a focused selection of moving image works by conceptual Argentine artist David Lamelas that coincides with his first comprehensive New York survey at Dia Chelsea. <span class=\"media-credit\">\u00a9 David Lamelas. Image courtesy the artist, Spr\u00fcth Magers and Jan Mot, Brussels.<\/span><\/figcaption><\/figure>\n<p>Messineo cites Campeche Gallery, a young Mexican gallery that opened shortly before the pandemic and is participating in Frieze New York for the first time. &#8220;I first encountered them through one of their artist I kept seeing in major collections during one of my visits to Mexico City. That relationship developed very organically.&#8221; The gallery is debuting at the fair with a spotlight on the practice of Abraham Gonz\u00e1lez Pacheco, presenting a series of large-scale graphite drawings and concrete works that draw on tequitqui art, archaeology and historiography to reframe overlooked histories of his community.<\/p>\n<p>Campeche is far from the only Latin American gallery at Frieze this year. Also in Focus, Buenos Aires-based Isla Flotante will present Rosario Zorr\u00e1quin&#8217;s series &#8220;Infiernos,&#8221; fragile cheesecloth paintings in which pigment filters through the fabric, while W-galer\u00eda will present Seba Calfuqueo&#8217;s works using hair, ceramics, photography and video to explore the body as memory and resistance through Mapuche and queer perspectives.<\/p>\n<p>In the main section, leading Mexico City gallery OMR will present a group presentation exploring the boundaries between body, nature and form, anchored by Pia Camil&#8217;s new painting series &#8220;Into the Wild,&#8221; while Mendes Wood DM will bring together a group booth with Kishio Suga, Lygia Pape, Sonia Gomes, Pol Taburet, Antonio Ob\u00e1 and Precious Okoyomon, exploring material, perception and cultural memory across generations.<\/p>\n<p>Several galleries from Brazil are also participating, including Fortes D&#8217;Aloia &amp; Gabriel, A Gentil Carioca and Vermelho, as well as S\u00e3o Paulo-based Mitre Galeria, which, after winning the Focus award last year, returns to Frieze New York promoted to the main section. Also in the main section for the past few years is Colombian gallery Instituto de Visi\u00f3n, which will bring a range of Latin American artists, including Gloria Sebasti\u00e1n, Carolina Caycedo, Ana Mar\u00eda Hernando and Aycoobo, exploring nature, territory and ecological knowledge.<\/p>\n<figure id=\"attachment_1644286\" aria-describedby=\"caption-attachment-1644286\" style=\"width: 970px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" class=\"lazyload wp-image-1644286 size-full-width\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Mendes-Wood-DM-Frieze-New-York-2025.jpg?quality=80&amp;w=970\" alt=\"Visitors explore another booth featuring paintings and sculptures, with a large blue-toned artwork centered on the back wall.\" width=\"970\" height=\"647\" data-srcset=\"https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Mendes-Wood-DM-Frieze-New-York-2025.jpg 3600w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Mendes-Wood-DM-Frieze-New-York-2025.jpg?resize=300,200 300w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Mendes-Wood-DM-Frieze-New-York-2025.jpg?resize=768,512 768w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Mendes-Wood-DM-Frieze-New-York-2025.jpg?resize=635,423 635w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Mendes-Wood-DM-Frieze-New-York-2025.jpg?resize=1536,1024 1536w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Mendes-Wood-DM-Frieze-New-York-2025.jpg?resize=2048,1365 2048w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Mendes-Wood-DM-Frieze-New-York-2025.jpg?resize=970,647 970w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Mendes-Wood-DM-Frieze-New-York-2025.jpg?resize=320,213 320w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Mendes-Wood-DM-Frieze-New-York-2025.jpg?resize=1920,1280 1920w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Mendes-Wood-DM-Frieze-New-York-2025.jpg?resize=50,33 50w\" sizes=\"(max-width: 768px) 135px, 200px\" \/><noscript><img decoding=\"async\" class=\"lazyload wp-image-1644286 size-full-width\" src=\"https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Mendes-Wood-DM-Frieze-New-York-2025.jpg?quality=80&amp;w=970\" alt=\"Visitors explore another booth featuring paintings and sculptures, with a large blue-toned artwork centered on the back wall.\" width=\"970\" height=\"647\" srcset=\"https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Mendes-Wood-DM-Frieze-New-York-2025.jpg 3600w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Mendes-Wood-DM-Frieze-New-York-2025.jpg?resize=300,200 300w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Mendes-Wood-DM-Frieze-New-York-2025.jpg?resize=768,512 768w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Mendes-Wood-DM-Frieze-New-York-2025.jpg?resize=635,423 635w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Mendes-Wood-DM-Frieze-New-York-2025.jpg?resize=1536,1024 1536w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Mendes-Wood-DM-Frieze-New-York-2025.jpg?resize=2048,1365 2048w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Mendes-Wood-DM-Frieze-New-York-2025.jpg?resize=970,647 970w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Mendes-Wood-DM-Frieze-New-York-2025.jpg?resize=320,213 320w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Mendes-Wood-DM-Frieze-New-York-2025.jpg?resize=1920,1280 1920w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Mendes-Wood-DM-Frieze-New-York-2025.jpg?resize=50,33 50w\" sizes=\"(max-width: 768px) 135px, 200px\" \/><\/noscript><figcaption id=\"caption-attachment-1644286\" class=\"wp-caption-text\">Frieze New York&#8217;s 15th edition will bring together more than 65 galleries, including 33 participants from the city. <span class=\"media-credit\">Casey Kelbaugh\/CKA<\/span><\/figcaption><\/figure>\n<p>Messineo describes Frieze New York as an international fair where galleries participate specifically to enter the American market and engage with New York collectors. &#8220;We have galleries from Korea, South America, Central America, Mexico, Canada and Europe. Collectors in New York are knowledgeable, they travel and they&#8217;re already engaged with the global art world. The fair is a snapshot of what&#8217;s happening globally.&#8221; Yet she acknowledges that finding the right balance between local and global is vital, as New York City&#8217;s art galleries\u2014especially blue-chip names\u2014serve as the bedrock of the fair.<\/p>\n<p>Despite rising travel costs, particularly to New York, Messineo has not seen significant changes in the number of collectors or museum groups attending. &#8220;We&#8217;ve expanded our VIP team over the past year and a half, strengthening relationships with institutions and trustee groups. We also travel frequently and host events with museums in different cities to cultivate those relationships.&#8221; At the same time, she&#8217;s aware of the potential of New York&#8217;s young, high-earning professionals and the importance of engaging them not only as weekend fairgoers\u2014something Frieze already achieves as a major social event\u2014but also as future collectors. &#8220;That&#8217;s definitely a priority. We&#8217;ve been hosting events in different cities, and it&#8217;s about creating access points\u2014through books, podcasts and studio visits. It extends beyond the fair itself.&#8221; Particularly effective in this regard have been initiatives such as Frieze Connect, which offer year-round entry points into the art world.<\/p>\n<figure id=\"attachment_1644282\" aria-describedby=\"caption-attachment-1644282\" style=\"width: 970px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" class=\"lazyload wp-image-1644282 size-full-width\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Anton-Kern-Frieze-New-York-2025.jpg?quality=80&amp;w=970\" alt=\"Three people stand in a white gallery space looking at artworks on the walls, with a dark sculptural form positioned prominently in the foreground.\" width=\"970\" height=\"647\" data-srcset=\"https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Anton-Kern-Frieze-New-York-2025.jpg 3600w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Anton-Kern-Frieze-New-York-2025.jpg?resize=300,200 300w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Anton-Kern-Frieze-New-York-2025.jpg?resize=768,512 768w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Anton-Kern-Frieze-New-York-2025.jpg?resize=635,423 635w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Anton-Kern-Frieze-New-York-2025.jpg?resize=1536,1024 1536w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Anton-Kern-Frieze-New-York-2025.jpg?resize=2048,1365 2048w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Anton-Kern-Frieze-New-York-2025.jpg?resize=970,647 970w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Anton-Kern-Frieze-New-York-2025.jpg?resize=320,213 320w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Anton-Kern-Frieze-New-York-2025.jpg?resize=1920,1280 1920w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Anton-Kern-Frieze-New-York-2025.jpg?resize=50,33 50w\" sizes=\"(max-width: 768px) 135px, 200px\" \/><noscript><img decoding=\"async\" class=\"lazyload wp-image-1644282 size-full-width\" src=\"https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Anton-Kern-Frieze-New-York-2025.jpg?quality=80&amp;w=970\" alt=\"Three people stand in a white gallery space looking at artworks on the walls, with a dark sculptural form positioned prominently in the foreground.\" width=\"970\" height=\"647\" srcset=\"https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Anton-Kern-Frieze-New-York-2025.jpg 3600w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Anton-Kern-Frieze-New-York-2025.jpg?resize=300,200 300w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Anton-Kern-Frieze-New-York-2025.jpg?resize=768,512 768w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Anton-Kern-Frieze-New-York-2025.jpg?resize=635,423 635w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Anton-Kern-Frieze-New-York-2025.jpg?resize=1536,1024 1536w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Anton-Kern-Frieze-New-York-2025.jpg?resize=2048,1365 2048w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Anton-Kern-Frieze-New-York-2025.jpg?resize=970,647 970w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Anton-Kern-Frieze-New-York-2025.jpg?resize=320,213 320w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Anton-Kern-Frieze-New-York-2025.jpg?resize=1920,1280 1920w, https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Anton-Kern-Frieze-New-York-2025.jpg?resize=50,33 50w\" sizes=\"(max-width: 768px) 135px, 200px\" \/><\/noscript><figcaption id=\"caption-attachment-1644282\" class=\"wp-caption-text\">A curated program defined by several new institutional partnerships will extend the fair&#8217;s reach beyond the aisles. <span class=\"media-credit\">Casey Kelbaugh\/CKA<\/span><\/figcaption><\/figure>\n<p data-start=\"9983\" data-end=\"10657\">Messineo also acknowledges the growing financial challenges for emerging galleries participating in a fair like Frieze, particularly in New York, one of the most expensive cities to exhibit in. For this reason, the fair continues to support participation through the Focus section, which is subsidized through a combination of Frieze\u2019s own resources and partners such as Stone Island. Beyond that, the fair has focused on ensuring galleries meet the right collectors and institutions. \u201cWe\u2019ve expanded our VIP team and are hosting networking events with collectors and institutions, particularly from regions like Brazil and Mexico, to support those galleries more directly.\u201d<\/p>\n<p data-start=\"10659\" data-end=\"11252\" data-is-last-node=\"\" data-is-only-node=\"\">One of the most notable additions this year is a new award in collaboration with the Sherman Family Foundation, which has committed to a five-year acquisition initiative from the Focus section. Providing $50,000 annually, the fund will acquire two works at $20,000 each, along with a $5,000 award to each selected artist. This year, the acquisitions benefit the Baltimore Museum of Art and the Brooklyn Art Museum. Crucially, the other portion of the funding is directed directly toward production and studio support for the artists. \u201cWhat\u2019s important is that part of the funding goes directly to the artist\u2014not just the acquisition but also production or studio support. It\u2019s about investing in future careers.\u201d<\/p>\n<h3><b>More in Art Fairs, Biennials and Triennials<\/b><\/h3>\n<ul>\n<li>\n<h5><a href=\"https:\/\/observer.com\/list\/venice-biennale-2026-must-see-shows-abramovic-armitage-tontey\/\" data-lasso-id=\"2949232\">10 Must-See Off-Site Venice Biennale Exhibitions<\/a><\/h5>\n<\/li>\n<li>\n<h5><a href=\"https:\/\/observer.com\/2026\/05\/review-greater-new-york-moma-ps1-review-2026\/\" data-lasso-id=\"2949233\">\u201cGreater New York\u201d Shows a Generation\u2019s Resilience at the Edge of Collapse<\/a><\/h5>\n<\/li>\n<li>\n<h5><a href=\"https:\/\/observer.com\/2026\/04\/art-fair-report-art-brussels-galleries\/\" data-lasso-id=\"2949234\">Art Brussels Keeps Getting Better at Being Itself<\/a><\/h5>\n<\/li>\n<li>\n<h5><a href=\"https:\/\/observer.com\/2023\/09\/art-fair-confidential-an-insiders-look-at-staging-the-armory-shows-of-yesteryear\/\" data-lasso-id=\"2949235\">An Insider\u2019s Look at Staging the Armory Shows of Yesteryear<\/a><\/h5>\n<\/li>\n<li>\n<h5><a href=\"https:\/\/observer.com\/2026\/04\/may-art-fair-calendar-may-art-fairs-guide\/\" data-lasso-id=\"2949236\">Observer\u2019s 2026 May Art Fair Calendar (Updated)<\/a><\/h5>\n<\/li>\n<li>\n<h5><a href=\"https:\/\/observer.com\/2026\/05\/art-fair-report-pinta-lima\/\" data-lasso-id=\"2949237\">Pinta Lima Offered Curated Content\u2013and Context\u2013for the Curious<\/a><\/h5>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Director Christine Messineo describes a strategy centered on performance, partnerships and emerging voices.<\/p>\n <a class=\"moretag\" href=\"https:\/\/observer.com\/2026\/05\/arts-interview-christine-messineo-frieze-new-york-preview\/\">Read More<\/a>","protected":false},"author":177935360,"featured_media":1644285,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"apple_news_api_created_at":"","apple_news_api_id":"","apple_news_api_modified_at":"","apple_news_api_revision":"","apple_news_api_share_url":"","apple_news_cover_media_provider":"image","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_cover_video_id":0,"apple_news_cover_video_url":"","apple_news_cover_embedwebvideo_url":"","apple_news_is_hidden":"","apple_news_is_paid":"","apple_news_is_preview":"","apple_news_is_sponsored":"","apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":[],"apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"_wpas_customize_per_network":false},"post_tag":[423991588],"company":[424012647,424007505,424012644,423809344,424012646,992947,423995366,1917511,423886655,424007047,424012645,424004311,424012649,424008339,423946972,11615622,424012648,423860410],"channel":[177,473719,279691083,423867218,423979941],"location":[4614,423943031],"nyo_column":[],"person":[423971952,424012553,424012554,423981708,423981129,424012555,423986224,423969578,424012556,423985150,1713735,424012641,423879787,423984569,423900967,423938052,423989274,423993960,423966148,424012642,423976802,423988330,424012643],"nyo_post_hidden":[],"coauthor":[423983686],"class_list":{"0":"post-1643989","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"tag-art-fair-directors","8":"observer_company-a-gentil-carioca","9":"observer_company-almine-rech","10":"observer_company-campeche","11":"observer_company-david-zwirner-gallery","12":"observer_company-fortes-daloia-gabriel","13":"observer_company-frieze","14":"observer_company-frieze-new-york","15":"observer_company-gagosian-gallery","16":"observer_company-hauser-and-wirth","17":"observer_company-instituto-de-vision","18":"observer_company-isla-flotante","19":"observer_company-mendes-wood-dm","20":"observer_company-mitre-galeria","21":"observer_company-omr","22":"observer_company-pace-gallery","23":"observer_company-galerie-perrotin","24":"observer_company-vermelho","25":"observer_company-white-cube","26":"channel-arts","27":"channel-art-fairs","28":"channel-art-market","29":"channel-interviews","30":"channel-interviews-with-arts-leaders","31":"location-new-york","32":"location-united-states","33":"nyo_person-christine-messineo","34":"nyo_person-fatima-gonzalez","35":"nyo_person-omayra-alvarado","36":"nyo_person-kite","37":"nyo_person-jordan-carter","38":"nyo_person-raphael-fonseca","39":"nyo_person-stefanie-hessler","40":"nyo_person-nora-n-khan","41":"nyo_person-wanda-nanibush","42":"nyo_person-jonathan-gonzalez","43":"nyo_person-david-lamelas","44":"nyo_person-rosario-zorraquin","45":"nyo_person-pia-camil","46":"nyo_person-kishio-suga","47":"nyo_person-lygia-pape","48":"nyo_person-sonia-gomes","49":"nyo_person-pol-taburet","50":"nyo_person-antonio-oba","51":"nyo_person-precious-okoyomon","52":"nyo_person-gloria-sebastian","53":"nyo_person-carolina-caycedo","54":"nyo_person-ana-maria-hernando","55":"nyo_person-aycoobo"},"acf":{"homepage_position":3,"homepage_title":"","homepage_excerpt":"","alternative_og_image":"","headline":{"seo_headline":""},"subheadline":{"optimized_seo_description":"","optimized_social_excerpt":""}},"apple_news_notices":[],"parsely":{"version":"1.1.0","canonical_url":"https:\/\/observer.com\/2026\/05\/arts-interview-christine-messineo-frieze-new-york-preview\/","smart_links":{"inbound":0,"outbound":0},"traffic_boost_suggestions_count":0,"meta":[],"rendered":"","tracker_url":"https:\/\/cdn.parsely.com\/keys\/observer.com\/p.js"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/04\/Immortal-Coil-Frieze-New-York-2025-3.jpg?quality=80","coauthors_byline":"By 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