There’s a general rule of thumb at art fairs: if dealers are willing to talk, they’ve probably sold enough to turn a profit. If they aren’t, it’s a good bet the going is tough and sales are slow—if moving at all. The mega-galleries often sell as much of their booth as possible before each fair begins, which means they’re usually up for talking to art hacks on the morning of the first VIP day, as ARTnews saw on Tuesday. (Gagosian revealed it had sold 80 percent of its itinerary by 11 a.m., for example.)
Frustratingly for everyone involved, over the past three years at Frieze and Art Basel, I’ve found that smaller and midsize galleries are increasingly reluctant to spill the beans on what’s sold—or, I should say, what hasn’t.
On the floor at Frieze London on Tuesday, several dealers in the Focus section at the front of the tent—reserved for emerging galleries—politely batted me away when I inquired about sales. A few who didn’t want to be named said they were up against it, and at least three said they hadn’t sold anything at all. The pressure is on, especially when the smallest booth in the section (65 square feet) costs £7,000 ($9,400), one dealer told ARTnews.
It’s not all doom and gloom, though. Several of the 35 Focus galleries reported strong sales by the end of Tuesday. They included London’s Ginny on Frederick, which sold the only two works it brought to the fair for between £20,000 and £30,000 ($26,000–$40,000) each. Both are by British artist Alex Margo Arden and titled Accounts (2025) and Daily Departmental Accident Record (2025).
“The booth sold out this morning, with Alex’s sculpture Accounts being acquired by the Arts Council Collection,” the gallery’s founder, Freddie Powell, told ARTnews. (The Arts Council has a special Frieze acquisitions fund.) “Alex’s practice employs theatrical methodologies to interrogate and question authority, authenticity, and labor. These concerns feel particularly vital in today’s world, making it all the more exciting that her work now enters the British art historical canon through the collection.”
Brunette Coleman, also based in London, confirmed that it had sold out, with works ranging from £7,000 to £25,000 ($9,000–$33,000). Canadian gallerist Eli Kerr said he’d “sold most” of his gallery’s presentation, while Wschód, which has spaces in Warsaw and New York, also told me it had sold “most” of its itinerary (neither gallery, however, would disclose prices). East London’s Public gallery confirmed it had sold six works by Chinese artist Xin Liu, including one institutional acquisition, with prices ranging from £5,000 to £15,000 ($6,000–$20,000). Gathering, which operates in London, Ibiza, and Cologne, said it had “placed the majority” of Paris-based artist Christelle Oyiri’s works, “which range from £2,000 to £20,000 ($3,000–$27,000).” Hot Wheels, based in Athens and London and winner of the Focus Stand Prize at Frieze London 2024, said it had “nearly sold out” its booth by the end of play Tuesday. One New York–based dealer told me they had “sold lots of works” but wouldn’t say which.
When I returned to the Focus floor on Wednesday morning, one American dealer who didn’t want to be named said they were still waiting to seal their first deal. I asked another gallerist—who also didn’t want to be named and who had sold a single work on Tuesday—for an update. “Nothing to tell you, I’m afraid.”
Despite footfall being noticeably lighter on Thursday, Amsterdam’s Diez gallery confirmed it had sold “a couple of works for under €2,000 ($3,000).”
“The feeling among the non-UK dealers here in the Focus section, at least the ones I’ve spoken to, is that it’s becoming a very local market, despite the locals trying to communicate the opposite,” Diego Diez, the gallery’s director, told ARTnews. Take that how you will.
This report will be updated throughout the day as sales info comes in.
