Frieze Art Fair is one of the most influential contemporary art fair networks in the world. Established in London in 2003 by the founders of Frieze magazine, it now brings together leading galleries, emerging artists, collectors, curators and institutions through editions including Frieze London, Frieze Masters, Frieze New York, Frieze Los Angeles and Frieze Seoul.
This archive collects previews, reports and critical analysis of Frieze fairs, covering participating artists, gallery strategies, exhibitions, sales and market trends. Beyond the spectacle of the booths, it examines how Frieze influences artistic visibility, financial value and the narratives promoted by the international art system.
Glenn Ligon, Untitled (detail), 2019. Glazed porcelain vessels. Photo: Ron Amstutz. Courtesy the artist, Hauser & Wirth and Thomas Dane Gallery. Glenn Ligon brought black moon jars to Seoul. That sentence seems straightforward enough, until you actually look at the jars
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A Japanese Yukata at a K-Culture Event: Ansel Elgort’s Seoul Backlash One Guest, One Garment and the Wrong Cultural Context At a night designed to introduce international guests to Korean culture,
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Yayoi Kusama, Portrait Yayoi-chan, 2014. Acrylic on canvas, 145.5 x 112 cm. Six days after Yayoi Kusama’s death was announced, her tearful self-portrait became the emotional centre of Ota Fine Arts’ presentation at Frieze Seoul. The painting had been selected earlier, but the gaze surrounding it had irrevocably changed.
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Yagwang, Raw Proof, 2024. Courtesy the artists Yagwang dismantles a Frieze Seoul booth for Facade Zone, a commission backed by Bvlgari. The work exposes hidden labour, unstable bodies and the fair’s talent for turning criticism into cultural capital.
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Entrance to Frieze House Seoul, designed by Seoul-based architectural studio Samuso Hyoja, featuring a site-specific installation by Japanese architecture studio SANAA Damien Hirst, Do Ho Suh, Nam June Paik, James Turrell and more than 130 galleries converge at Frieze Seoul 2026. Beyond the headline names, the real story is the changing balance of power between Seoul and the global art world.
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