“Art fairs are the new disco,” declared veteran art writer Anthony Haden Guest after Art Basel Miami Beach 2006. It was at the height of a global art fair frenzy, when talk of a bubble burst was in the air, but signs of a market slowdown were nowhere in sight. Fast-forward two years, one Bear Sterns debacle later, and enter the tenth installment of the Armory Show. Judging from this past March 27 – 30, it is clear that the party is still going, but Europeans might be the only ones left at last call.
 Thomas Hirschhorn, Tool Table, 2007
Courtesy the artist and Arndt & Partner Berlin/ Zurich |
The fair was founded by Matthew Marks, Paul Morris, and the late cult dealers Pat Hearn and Colin de Land at a time when, as Morris describes Pat Hearn to have said, “it’s the bottom of the market, let’s do something where we can all get together again and keep doing art fairs in one way or another.” Now ten years young, the fair’s refreshing premise is to show new work by living artists, and this year the number of artists represented topped 2,000, hosted by over 160 international galleries.
Talk of the economic climate stole the show this March, with art playing second fiddle to concerns of a recession. Money—who was making it, who was spending it, and what it bought—was not only the elephant in the room, but the foremost topic of conversation. Even the fair, under new management, having been purchased recently by Chicago’s Merchandise Mart, was budget conscious. Noticeable differences were everywhere: a cash bar in the VIP lounge (!) during the opening gala, and a rise in admission prices—up to $30 from last year’s $20 entry fee. However, reports from the frontlines were mixed. Some dealers say the frenzied atmosphere that had characterized years past was missing, while others reported 2008 as their best Armory to date. Universally, though, many conceded to a quieter year both in terms of selling and attendance. While sales may have slowed inclusively, buyers from Germany, France and elsewhere in Europe were still out in full force (the fair reported that the number of Europeans registered for VIP cards was up by 33% this year), enjoying the fluctuating, anemic dollar. The number of galleries also reflected this demographic; of the 165 booths present, European galleries occupied 80.
 Huma Bhabha, legs, and arms, and heads, 2008
Courtesy of ATM Gallery |
While there were a number of notable works on view, the mood of the economy was reflected on the walls. Many exhibitors proceeded with caution, displaying smaller works, priced to move. Sex, drugs, and politics were no-shows; risk taking and non-commercially viable work would have to wait for another time and place. Several names did make an impact, however. Walead Beshty, who also has an impressive installation at the Whitney Biennial, displayed two striking abstract photographs at Wallspace Gallery. At Arndt & Partner, Thomas Hirschhorn’s Tool Table was one of the more dramatic sculptural works in the fair. Cheim & Reid had a handsome grouping of Jenny Holzer LED light pieces and editioned photographs, and the Annette Lemieux installation at Paul Kasmin’s booth was complete with free apple pie. ATM Gallery boldly displayed only one piece in their booth—a Huma Bhabha sculpture, sold before the doors even opened, as did CANADA Gallery, highlighting Joe Bradley’s massive monochromatic ‘Bread’ painting, a subtle commentary on art and commerce. Disappointingly though, most of the work had been seen before in some capacity and what was missing among the sectioned off walls was any one installation or work that stood out from the rest. The ambitious wall piece by Brazilian artist assume vivid astro focus on display in Deitch Projects was hard to miss, but was it anything new?
 Annette Lemieux installation
Courtesy Paul Kasmin Gallery |
Coinciding with the Armory, in venues that allowed for viewing on a more intimate scale, were nine additional satellite fairs. They included Volta, Pulse, and Scope as well as the most refreshing break from all of the commerce, the Dark Fair. Held at the Swiss Institute sans lights, the fair had visitors fumble around in the dark to figure out what they were ‘looking’ at.
Historically, some of the greatest artwork has been produced during destitute times. The Armory Show 2008 was to be our gauge as to whether we were entering those times or not. It has shown that temporarily our picture remains rosy, but watchful. And while those overseas race to make a purchase before the dollar fluctuates back in our favor, we Stateside can revel in a brief lull from the frenzy, taking the opportunity to spend more time with the work—to contemplate it—without the urge to run onto the next booth.
