W Galleria at Frieze New York. Image by Casey Kelbaugh/CKA. Courtesy of FRIEZE
Among the galleries debuting at Frieze this year is Sargent’s Daughters, with a solo presentation of Mexico City-based Yeni Mao, whose works also stood out in the Focus section, all priced between $8,000 and $15,000. The booth introduces the artist’s charged sculptural language as an exercise in embodiment and disembodiment, casting and recasting body and infrastructure, where bodily memory, architectural tension and material transformation fold into one another. Mao’s work carries the residue of structure and ritual simultaneously, turning fragments, supports and forms into objects that feel both excavated and newly weaponized, suspended between personal mythology and a broader language of displacement, protection and pressure, and the presentation precedes the artist’s solo exhibition at Museo Anahuacalli in Mexico City coming in autumn 2026.
Also debuting at Frieze, Campeche presents a solo showing of Mexican artist Abraham González Pacheco, whose works draw on archaeology, historiography and Indigenous narratives to distort official histories and foreground the sectors rendered invisible by cultural hegemony. Made with natural pigments, graphite and concrete, the works feel fossilized through accumulation, as if each surface were holding traces of stories still resisting erasure. Memory and ancestral traces operate here as poetic gestures, opening onto the gray areas where facts overflow at the edges of the collective and individual mind. Interested in the voids between the imperfect fragments that compose established narratives, González Pacheco suggests tools for excavating the collective imaginary and finding possible futures in its ruins. Also featured in the just-opened Carnegie International, his works are priced between $8,000 and $15,000.
Sargent’s Daughters at Frieze New York. Courtesy Sargent’s Daughters
Buenos Aires gallery Isla Flotante debuts in Focus with Rosario Zorraquín’s liquefied paintings, in which evocations of bodily movement and intra-human contact dissolve into one another through watermarks, soft stains and sketch-like narratives. Occupying a fluid space between figuration, intimate storytelling and healing, the works expand through the booth via their transparent surfaces. Prices range from $6,000 to $20,000. Working to reinforce its institutional threads, Frieze also secured this year the support of the Sherman Family Foundation, which has committed to a five-year acquisition initiative dedicated to the Focus section. Providing $50,000 annually, the fund supports two acquisitions at $20,000 each, with an additional unrestricted $5,000 award directed to each selected artist for production and studio support. “What’s important is that part of the funding goes directly to the artist—not just the acquisition but also production or studio support. It’s about investing in future careers,” Messineo told Observer. Through the fund, the Brooklyn Museum acquired two works by Bettina from Ulrik: Traffic Patterns, from the series Phenomenological New York. (The artist award will be presented posthumously in support of the documentation and preservation of her work) Additionally, the Baltimore Museum of Art acquired three works: Reika Takebayashi’s Both Banks I from Public Gallery, Seba Calfuqueo’s PILLAN SIKILL 1 from W Galería and Joanne Burke’s Festival 7 from Soft Opening. Each artist will receive an unrestricted $5,000 award.
The New York Art Week endurance test continues today, with Independent and TEFAF opening next. Stay tuned.
Campeche at Frieze New York. Image by Casey Kelbaugh/CKA. Courtesy of FRIEZE
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