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Frieze is a media and events company that comprises three publications, frieze magazine, Frieze Masters Magazine and Frieze Week; and four international art fairs, Frieze London, Frieze LA, Frieze New York and Frieze Masters; regular talks and summits, led by frieze editors; and frieze.com - the definitive resource for contemporary art and culture.

Ira Sachs’s critically acclaimed dramas seldom lean into spectacle. His 2025 film ‘Peter Hujar’s Day’ takes a transcript...
27/05/2026

Ira Sachs’s critically acclaimed dramas seldom lean into spectacle. His 2025 film ‘Peter Hujar’s Day’ takes a transcription of a single conversation between Hujar (played by Ben Whishaw) and his friend, writer Linda Rosenkrantz (played by Rebecca Hall) — initially captured on tape over the course of one day in 1974 — and renders it as a filmic portrait of the artist.
 
Sachs and frieze editor Angel Lambo spoke just before he headed to Cannes to premiere his latest film, ‘The Man I Love’ (2026), starring Rami Malek. In conversation, they discussed Hujar’s afterlife, self-doubt, and why Sachs keeps returning to 1970s and ‘80s New York on-screen.
 
Read the full interview via the link in bio.

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Images: Peter Hujar’s Day, 2025. Courtesy:

After dozens of hours in darkened theatres, Rory O’Connor has emerged from Cannes with his top 5 films of the festival. ...
22/05/2026

After dozens of hours in darkened theatres, Rory O’Connor has emerged from Cannes with his top 5 films of the festival. 
 
This year was defined less by star power than by legacy, with weighty, political cinema taking the reigns in the festival’s 22-film competition slate. Yet, some of the best discoveries were hidden in the sidebars. Here are the five films worth your attention. 
 
Hit the link in bio to read more 🔗
 

 
Words: Rory O’Connor
Film stills courtesy of Cannes Film Festival 2026

21/05/2026

‘This show is an invitation to think about how artists are engaging with each other across time and across disciplines.’ — Emma Kronman⁠
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For Art:LIVE, join Frieze’s Matthew McLean on the Upper East Side for a preview tour of the bold new exhibition opening at David Zwirner in time for Frieze New York: ‘Set in Stone’, curated by art consultant Emma Kronman.⁠
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A collaboration with Galerie Kugel, the Parisian specialist in pre-20th-century art, ‘Set in Stone’ places pieces of historic carving - from a double marble bust to a multicoloured inlaid tabletop - in dialogue with modern and contemporary pieces by Diane Arbus, William Eggleston, Paul Klee and Andra Ursuta.⁠
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As Kronman explains, this approach parallels how collectors and connoisseurs of art have historically moved across categories of art, drawn to objects solely for their quality and beauty rather than their type. 'We like to have structures to think about things,’ she says. ‘But when they become too prescriptive, they can limit us.’⁠
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Link in bio to find out more. ⁠
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Global lead partner - Deutsche Bank
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What sold at 2026?The fair’s 15th edition brought together 68 galleries from 26 countries at The Shed, welcoming more ...
21/05/2026

What sold at 2026?

The fair’s 15th edition brought together 68 galleries from 26 countries at The Shed, welcoming more than 25,000 visitors across five days in May. Collectors, curators, artists and institutions from around the world gathered in New York for a week defined by ambitious presentations, major acquisitions and strong sales across every level of the market.

From seven-figure sales and sold-out booths to museum acquisitions through the inaugural Sherman Family Foundation Acquisition Fund, this year’s edition reflected both the global reach of the fair and the continued appetite for contemporary art. A strong Latin American presence — with 14 galleries from across the region — underscored Frieze’s ongoing commitment to the sector, while the Focus section, curated by Lumi Tan, drew significant institutional attention, with works entering major public collections including the Brooklyn Museum and Baltimore Museum of Art.

Swipe to see the highlights from Frieze New York.

Global lead partner —

Selected by eight participants in this year’s Frieze New Writers Programme in Vienna – a free, three-day intensive cours...
20/05/2026

Selected by eight participants in this year’s Frieze New Writers Programme in Vienna – a free, three-day intensive course for aspiring art writers led by the frieze editorial team and supported by Phileas – these are the exhibitions they recommend not to miss in the Austrian capital.⁠
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From Tony Cokes’s pulsating memorial to Black q***r nightlife at Felix Gaudlitz to Marianna Simnett’s endurance-based sculptures at Secession, swipe to see their must-see exhibitions →⁠
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https://www.frieze.com/article/frieze-new-writers-pick-viennas-must-see-exhibitions
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19/05/2026

‘I became fascinated by how such a simple gesture like pouring milk into a glass can become an existential act.’ Curator Humberto Moro () of is explaining what makes artist David Lamelas so special. Lamelas, who was born in Brazil, has worked in New York, LA, Paris, Brussels and London in a career spanning six decades.
 
Lamelas is the subject of a major survey at Dia Chelsea, one of the places that Frieze’s Christine Messineo stops at on her video tour of the neighbourhood, along with the the , and . Lamelas’s iconic 1972 film work ‘To Pour Milk into a Glass’ was one of many works shown at Frieze New York this year, a piece that manifests what Moro sees as the artist’s unique combination of the global and hyper-local. ‘It’s such a smart, funny, mischievous way of pointing at what sculpture can be,’ he says. 
 
Hit the link in bio to watch the full video.

Global lead partner -

New York-based writer and cook Alison Roman looks for the ingredients of the perfect art collection in the Frieze New Yo...
19/05/2026

New York-based writer and cook Alison Roman looks for the ingredients of the perfect art collection in the Frieze New York Viewing Room. She selects a meditative study by Amadeo Luciano Lorenzato, a mysterious work by Esther Pearl Watson and a piece by Hayley Barker that she describes as ‘a portal into another place (and maybe another time), which we all occasionally desire’.⁠
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https://www.frieze.com/article/alison-roman-viewing-room-frieze-new-york-2026
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Discover and collect exceptional artworks on the Frieze Viewing Room, with access to gallery presentations from Frieze New York 2026, live until May 24.

Jerald Cooper, founder of creative studio Things We’ve Made and Instagram account Hood Mid Century Modern, takes a wande...
18/05/2026

Jerald Cooper, founder of creative studio Things We’ve Made and Instagram account Hood Mid Century Modern, takes a wander through the Frieze New York Viewing Room, choosing (among others) a stunning late-1950s watercolour by Wadsworth Jarrell, a sketch of art-restaurant El Internacional by NYC legend Antoni Miralda and a compelling mixed-media work by South African artist Neo Matloga: ‘The style in which Neo painted this, wow! The faces, the clothing, the scale of the piece. Can’t wait to see this in person!!!!’⁠
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https://www.frieze.com/article/jerald-coopers-top-picks-frieze-new-york-2026
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Discover and collect exceptional artworks on the Frieze Viewing Room, with access to gallery presentations from Frieze New York 2026, live until May 24.

In the second of the ‘Risk and Reward’ interview series supported by Deutsche Bank, investor Jason Price explains how a ...
18/05/2026

In the second of the ‘Risk and Reward’ interview series supported by Deutsche Bank, investor Jason Price explains how a fateful meeting with artist Titus Kaphar led to the foundation of the non-profit arts incubator NXTHVN in New Haven, Connecticut. ⁠
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NXTHVN focuses on ‘what artists really need in that moment’ as they transition from study to survival in the commercial world. Its fellowships provide live-work studios, sponsored stipends and expert mentorship to teach artists ‘how to build when it’s going well, but also how to avoid the pitfalls’. ⁠
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In the interview, Price explains how he drew on his experience in business and investment, with a startup-style strategy that allowed NXTHVN to grow sustainably through revenue-generating opportunities, while supporting the local community. ‘More than individual success stories,’ he says, ‘I’m proud of the methodology, the fact that it works consistently.’ ⁠
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‘Risk and Reward’, supported by Deutsche Bank Art, Deutsche Bank Wealth is a new series of interviews with influential figures shaping the future of the art world with new strategies and business acumen. ⁠
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Special thanks to NXTHVN fellows Sophia-Yemisi Adeyemo and Haejin Park for allowing us to shoot in their studios. ⁠

https://www.frieze.com/partner-content/sponsored/article/frieze-risk-and-reward-jason-price

17/05/2026

‘If you want to be an artist, you need to see the world’ - so artist Pio Abad was told by his aunt, the trailblazing Filipino artist Pacita Abad. ⁠
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For Art:LIVE, the younger Abad explains to Frieze’s Matthew McLean, how his works shown by Tina Kim Gallery at Frieze New York explore a different way of ‘seeing the world’. ⁠
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Also featured in the 2026 La Biennale in Venice, Abad’s minutely detailed ink drawings juxtapose bronzes looted from the Kingdom of Benin with stacks of personal belongings from his own family home in London. This process of ‘over-remembering’ the forgotten also meditate on the presence of historical exploitation in everyday life. ⁠
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17/05/2026

‘This show is an invitation to think about how artists are engaging with each other across time and across disciplines.’ — Emma Kronman
 
For Art:LIVE, join Frieze’s Matthew McLean () on the Upper East Side for a preview tour of the bold new exhibition opening at in time for Frieze New York: ‘Set in Stone’, curated by art consultant Emma Kronman.

A collaboration with , the Parisian specialist in pre-20th-century art, ‘Set in Stone’ places pieces of historic carving - from a double marble bust to a multicoloured inlaid tabletop - in dialogue with modern and contemporary pieces by Diane Arbus, William Eggleston, Paul Klee and Andra Ursuta.
 
As Kronman explains, this approach parallels how collectors and connoisseurs of art have historically moved across categories of art, drawn to objects solely for their quality and beauty rather than their type. ‘We like to have structures to think about things,’ she says. ‘But when they become too prescriptive, they can limit us.’
 
Watch the video for more.

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