NADA opened its doors in Miami Beach in 2003 in a raw commercial space near the Convention Center. Following a five-year stint at the Ice Palace, the fair found its home in the charming, if a little rough around the edges, Deauville Beach Resort. But this year, the fair’s 13th, NADA moved down the beach to the opulent Fontainebleau. Having more than doubled in size since it first opened its doors—80 exhibitors are taking part this year—NADA bid a bittersweet farewell to Deauville, which had turned into an art world sleepaway camp—dealers, artists, and fair all nestled under one roof—each December since 2009.
“I miss staying at the hotel, but the fair is way better here,” said Zach Feuer, one of the founding members of NADA (the New Art Dealers Alliance), echoing the sentiments of nearly every dealer there. Many have lauded the new locale’s high ceilings, better services, and layout. That collectors rather than competitors tend to stay at the Fontainebleau is doubtlessly an added bonus. “It’s less punk rock,” joked James Michael Shaeffer Jr., director of James Fuentes Gallery, standing among work by
. “That was like a home-produced album, but this is an actual studio.”
NADA, long revered for having its finger on the pulse of the top crop of new artists, has, with the shift to these swankier, roomier digs, reflected a more macro maturation of the art world of today. It is, after all, not just the venue that’s grown up. As collectors, thirsty for new material, shed their tunnel vision for twentysomething MFA grads cum market darlings, older artists have been folded into the emerging artist moniker—and into NADA booths.