In a striking demonstration of New York’s resilience as the world’s leading art market hub, Frieze New York has reported exceptional sales across multiple price points and artistic traditions, offering a revealing snapshot of collector priorities in today’s challenging economic landscape.
The fair’s results reveal a fascinating counternarrative to concerns about Trump’s tariff policies hampering international art trade. While economic headwinds have created friction in cross-border transactions, Frieze New York demonstrates that quality international art continues to find eager American buyers.
Korean artists made a particularly strong showing, with Kukje Gallery selling several works including a painting by Park Seo-Bo in the range of $250,000-$300,000, alongside works by Kyungah Ham, Kibong Rhee, Haegue Yang, and Suki Seokyeong Kang. This success highlights the growing prominence of Asian art in the American market despite new trade barriers.
Jeff Koons’s $3 million Hulk. Image source: @artnet in X.
Japanese artist Kishio Suga’s “Sliced Stones” installation, priced between $200,000-$300,000, was acquired by a museum collection through Mendes Wood DM, demonstrating institutional confidence in established international artists regardless of economic uncertainty.
European artists also performed exceptionally well. Perrotin sold out its presentation of paintings by French artist Claire Tabouret, with works ranging from $65,000 to $200,000. Mor Charpentier similarly sold out their booth featuring works by Malo Chapuy, while Thaddaeus Ropac placed several significant works, including a painting by German artist Georg Baselitz for €1 million ($1.08 million).
Latin American art gains ground
The complete sellout of Madragoa’s booth featuring paintings by Rodrigo Hernández signals growing collector interest in Latin American artists, aligning with the broader 2025 trend of emerging markets gaining prominence in the global art ecosystem.
The fair’s results align perfectly with broader 2025 market trends, as collectors gravitate toward established artists amid economic uncertainty. White Cube gallery recorded numerous sales, including a Tracey Emin painting for £1.2 million ($1.5 million), alongside works by established names like Etel Adnan, Antony Gormley, Christine Ay Tjoe, and Ilana Savdie.
Perhaps the most telling indicator of current market dynamics was Gagosian’s “phenomenal” response to its presentation of Jeff Koons, with works including “Hulk (Tubas)” placed within hours of the fair’s opening.
Connecting to global trends
These results from Frieze New York perfectly illustrate the broader 2025 art market trends. While Trump’s tariff policies create friction in international art transactions, New York is reinforcing its position as the dominant market center, accounting for 43% of global art sales.
The strong performance of established artists at Frieze aligns with collectors’ increasing caution during uncertain economic times. Yet the success of international artists from Asia, Europe, and Latin America suggests that quality transcends trade barriers, with collectors willing to navigate new challenges to acquire significant works.
As the art world continues to adapt to economic pressures and shifting political landscapes, Frieze New York’s results suggest that the market’s core remains remarkably resilient—particularly when focused on quality, established names, and culturally relevant works from across the global spectrum.
Sources:
- Frieze New York Social Media – https://www.instagram.com/p/DJmgRHBNcig/?igsh=MWp0Z25vZzF3ZWp1cA%3D%3D
