Independent 20th Century Fair Expands Focus on Overlooked Abstract Artists

The Independent 20th Century fair has made a noteworthy transition from Downtown to Uptown New York this year, significantly expanding its exhibition space and number of participants. Now in its fifth edition, the fair has grown to include 57 exhibitors, marking an 84% increase from last year’s 31. The fair's mission remains unchanged: to showcase significant yet often overlooked works from the previous century, emphasizing the contributions of lesser-known artists alongside familiar Modernists. The decision to host the event at Sotheby’s Marcel Breuer-designed headquarters is aligned with this mission; it serves as a fitting venue to argue for the inclusion of various artists and movements within the broader narrative of Modern art history.

Running until September 27, this iteration of the fair features an eclectic mix of canonical additions, highlighting lesser-known Surrealists and Pop artists. Among the standout presentations is Richard Saltoun Gallery’s exhibit dedicated to Austrian artist Manina, and Garth Greenan Gallery's display of American artist Rosalyn Drexler, coinciding with a solo show at the gallery. Notably, several women artists associated with Abstract Expressionism, along with Black artists prominent in the Soho scene, such as those represented by a collaborative stand from Salon 94 and Ryan Lee Gallery, are also being showcased, adding depth to the fair's offerings.

Highlighting Abstract Art Across Generations

Galerie Lelong is particularly focused on the work of Alice Trumbull Mason, showcasing pieces created from 1955 to 1964. This includes two paintings that previously adorned the Breuer building during Mason's only institutional retrospective hosted by the Whitney Museum in 1973. According to Katherine Chan, a director at the gallery, this period was critical for Mason, illustrating how her approach foreshadowed Minimalism. The eight paintings on display are priced between $100,000 and $200,000 and range from muted forms to vivid, dynamic compositions that evoke both urban and marine landscapes.

In a similar vein, Ortuzar has chosen to spotlight the works of Mary Grigoriadis from the 1970s. Her stand features six square paintings that exhibit an evolution in style—from densely packed shapes to asymmetrical configurations featuring large expanses of raw canvas. Maddie Klett, an associate director, notes Grigoriadis's dual influence along the lines of hard-edge painting and the Pattern and Decoration movement, with price points ranging from $25,000 to $95,000.

Rediscovering Surrealism

Catching the attention of many is the San Francisco-based Gallery Wendi Norris, which is dedicated to the works of Marie Wilson, an artist closely associated with Surrealism. Wilson’s pieces reflect her time in Paris alongside notable figures of the movement and hint at an idiosyncratic style that resonates with various influences, from Buddhist art to Southwestern transcendentalism. The gallery's display includes 18 works, combining paintings and drawings from her prolific early years, with prices ranging from $24,000 to $285,000.

Bockley Gallery, based in Minneapolis, presents a focused overview of Ojibwe artist George Morrison’s works created in Minnesota—following the successful showcasing of his New York pieces earlier this year. Emily Marsolek from the gallery emphasizes Morrison’s known affinity for texture and materiality, showcased in small drawings and large-scale wood collages, with prices starting at $20,000 and exceeding $1 million for significant pieces.

The Spirit of Abstraction

Visitors seeking pure abstraction will find compelling displays at Hauser & Wirth, featuring the works of Emma Kunz, a self-taught artist whose graphically complex pieces combine art with her practices as a healer. Priced between $280,000 and $310,000, her lineup includes works that range from colorful to monochromatic, aiming to provide a holistic view of her artistic intent.

Throughout the Breuer building, several other significant presentations are apparent including Luxembourg & Co’s exploration of Constructivism’s influence on Sue Fuller and James Fuentes Gallery’s display of Al Held's innovative text paintings, demonstrating the connections between text art and abstract practices.

Reassessing Artistic Narratives

Elizabeth Dee, the fair's founder and chief executive, emphasizes the unifying nature of abstraction, which has historically catalyzed political and social discourse. The fair not only highlights the work of overlooked women Modernists but also proposes a re-evaluation of those artists who frequently challenged material conventions.

By raising visibility for these under-recognized figures and their avant-garde approaches, the Independent 20th Century fair suggests a potential shift in the dynamics of contemporary markets, where the value of nuanced abstraction may begin to eclipse more traditional narratives. This celebration of artistic diversity reminds attendees that while the past may offer rigid categorizations, today's art requires a more expansive perspective.