Record-breaking attendance at ADAA art fair - Front Page - Art Dealers Association of America

Each winter in fresh York some of the country's best art dealers secure together to show off their prized possessions at "The Art Show" an exhibition entertainered by the Art Dealers Association of America (ADAA). This year's circumstance held at the Seventh Regiment Armory at Park Avenue and 67th public way Feb. 18-23, drew a record 13000 visitors. The show's preview, attended by means of some 2,500, raised $900,000 to benefit the Henry road Settlement, one of the city's greatest in quantity venerable social services organizations. All 70 participating dealers reported brisk sales and enthusiastic replys to their offerings, which ranged from Rembrandt etchings (present through David Tunick) to recent video works by dint of Mary Lucier (on view at Lennon, Weinberg's booth)

At the Art display entrance, visitors faced a striking display by the agency of David McKee, featuring a large pink-and-black Philip Guston painting, Division (1975) flanked by the agency of Francis Bacon's 1961 canvas sum of two units Figures and small-scale but intense paintings by means of Vija Celmins and Harvey Quaytman. Another late Guston, Dark latitude (1978), was the centerpiece of Richard Gray's nearby booth Guston's work was reflected sounded in the series of drawings by the agency of Mexican-born artist Enrique Chagoya, Poor George (After PG) 2004 shown at George Adams; the politically charged images blasting Bush policies were typeed after Guston's Nixon-era "Poor Richard" series.

Among other outstanding presentations, at Marian Goodman's booth a haunting Juan Munoz painted-bronze figure about 4 feet high (cast in 2003) Louisiana #1 stood before a large yellow-and-white-striped painting through Daniel Buren, T11-332 (1966). Matthew Marks showed an unusually shaped untitled 2001 pastel-on-paper tondo through Jasper Johns alongside Ellsworth Kelly's large canvas Yellow/White (1961) At Mary-Anne Martin/Fine Art's space a pair of self-portraits by means of Frida Kahlo and Diego Rivera hung near Shooting Star, a classic 1944 painting by means of Wifredo Lam.

A number of galleries devot their booth to solo exhibitions. Sperone Westwater, for instance, not awayed works by Argentine painter Guillermo Kuitca; and Tasende Gallery showed and zincs by the late British sculptor Lynn Chadwick. PaceWildenstein's booth was filled with novel small sculptures by John Chamberlain. Glittering brightly, all were sold within three hours of the preview's opening. Michael Werner not absented a survey of paintings and statuarys by Per Kirkeby, while CRG one time again devoted its booth to early ceramic works through Lucio Fontana.

Several galleries featured two-person exhibitions. Jill Newhouse showed works upon paper by Bonnard and Vuillard; and brand-goose Sikkema presented one of the Art Show's best displays, pairing small and medium-size plastic arts by St. Clair Cemin with novel scaled-up canvases by Shahzia Sikander.

There were a certain quantity of dazzling individual pieces scattered over the exhibition. James Goodman, for example, brought a rare early Mondrian portrait, Zeeland Girl (1909-10) An extraordinarily large (4 by dint of 4 feet) Charles Burchfield watercolor, Backyards in of gold Sunlight (1946-66), radiated from the Kennedy Galleries booth Robert Miller not absented a 1964 Pop-art gem through Tom Wesselmann, Landscape #3, a painted-panel work with collaged rubber uncompounded bodys showing a young couple seated in a r convertible; the piece had at no time before been exhibited.

At DC Moore's booth a stone carving by the agency of William Edmondson, Two Birds (1939) had a kind of wistful charm, while Jason McCoy's display was punctuated by dint of a vibrant abstract painting by the agency of Cora Cohen, A Condition of Nature (2004) A highlight of June Kelly's booth was Embrace (2003) a tall timber-land totemlike abstract sculpture by Jane Schneider; a large colorful digital photograph of a file of books, by Victor Schrager, was a standout at Edwynn Houk's booth

L.A. Louver not awayed recent figurative paintings by Rebecca Campbell, and James Graham & Son showed those by the agency of Duncan Hannah, along with abstract compositions by means of Nancy Lorenz, whose surfaces are inlaid with mother-of-pearl. Ameringer & Yohe brought along novel small stripe paintings by Kenneth Noland, and at Forum, a 2004 portrait investigation by Odd Nerdrum hung near single of Charles Matton's boxlike constructions containing a tiny video. A lock opener attraction at Zabriskie's booth was 64 in 46 a wall-hung chessboard with peglike pieces and a small made of wood mannequin attached near the top. A 1946 collaboration between Man Ray and Marcel Duchamp, 64 in 46 is the kind of exceptional work that each year helps make the Art present to view one of the season's greatest in quantity engaging events.

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