The gallery wouldn’t comment on the asking price for the bar of soap, but a number of other sales early on in the fair confirmed Hudson’s instincts were spot-on. David Kordansky sold two graphite-on-paper works by Tom of Finland for $25,000 each, and Nicelle Beauchene sold several paintings by
. Pettibon’s drawings at the Zwirner booth were old enough that Hudson could have shown them in his own gallery when he first discovered the artist, and they sold for prices exponentially higher—some of them were priced as high as $250,000, the gallery said.
When Pettibon was first included in shows at Feature Inc., not only did Hudson have difficulty selling his work, but some thought the drawings didn’t belong in a gallery at all, Higgs said.
“You have to remember, when Hudson showed the work, there were no monographs on Raymond Pettibon—there were the stapled zines that Raymond made by himself and distributed by himself,” Higgs said. “And Hudson understood that to move this out of the West Coast subculture of punk, into another context—his context—it could start to reverberate and find new conversations.”
Last year, the Feature Hudson Foundation was established to maintain the gallery’s expansive archives. The foundation had a booth in the section, with works by B. Wurtz,
. Above them was a gigantic print of a picture of Hudson—lying upside down, bald and clean-shaven, with a serene face and clear eyes staring right at the camera—installed on the entire back wall, his visage looming over the proceedings like the dealer loomed over the gallery in his lifetime.
“It was important there was a physical, literal, manifestation of Hudson here,” Higgs said. “Hudson was always behind the front desk—when you go to Gagosian, you don’t see Larry behind the desk, when you go to Zwirner, you don’t see David behind the desk. But at Feature, Hudson was always there.”