One of the main additions to the floor plan is what Genocchio calls the fair’s “sacred heart,” a square in the middle of Pier 94 inspired by town centers in North Africa. At this center sits a freshly-commissioned installation by
, Guidepost to the New World
(2016), which sees a 40-by-49-foot astroturf garden spotted with polka-dotted phallic sculptures.
The work, presented by Victoria Miro
, is among 13 large-scale installations scattered across Piers 92 and 94, part of the inaugural Platform
sector curated by Eric Shiner. Merely an hour into The Armory Show’s preview, one edition of the installation had already found a home with an international collector—for a price in the region of $1 million. A second of the work’s five editions was reportedly on hold.
Victoria Miro director and partner Glenn Scott Wright described a “tremendous” reception to Kusama’s work in The Armory Show’s early hours. The gallery has carried Guidepost to the New World
’s garden theme over to its booth—astroturf floors and all. Scott Wright reported having sold an additional painting by Kusama for $500,000 as well as an abstract landscape by
2017) and a painting by
2017), by the afternoon of opening day.
London’s White Cube
, exhibiting at the fair for the first time since 2011, sold a number of pieces from a solo booth of
’s work on opening day. The presentation precedes a slew of major museum exhibitions for the Welsh conceptual artist, most imminently a solo commission opening at Tate Britain on March 28th and Wyn Evans’s participation in this year’s Venice Biennale.
director Peter Brandt said that the gallery returned to the Armory show because it is “starting to have more of a presence here in New York,” with a viewing space and office in the city forthcoming. Brandt said the gallery is particularly interested to see whether The Armory Show delivers a different sort of collector than the fair’s main competitor in the city, Frieze New York, where it has regularly exhibited.
According to the director, Genocchio “was very much a part of that decision” to return. As for the results, he said, typical of the more organic pace of a New York fair, it will take a few days to ascertain. But he said, “hopefully it will be positive.”
Armory Show stalwart Jack Shainman was effusive about his early results this year. “There’s an amazing energy, as always, but the redesign makes the fair much more comfortable to walk around,” he said. Shainman’s booth
moved this year from a now-eliminated cul-de-sac on the righthand wing of Pier 94 to a central booth near the fair’s Town Square.
“Sales have been excellent,” said the gallerist. By late afternoon on Wednesday, he had placed a painting by
2017) with a collector for $75,000; two works by
(both titled Hustle Coat,
2017) for $85,000 apiece; and a work by
2017) for $35,000.
“Because of the whole state of politics in the world and all this unknowing, nobody really knows [what to expect],” he said. “But it’s been a phenomenal fair, maybe one of our best.”