ART

My NYC Art Week Hot Takes

May 19, 2026

Hi friends, my feet hurt!

Me, writing my hot takes. Scott Reeder, Shitzu with Sunnies, 2026, NADA

But… I successfully hit all of the art shows I set out to, brought clients around to shop for pieces for their projects, and still somehow found time to reflect on some of my own hot takes about NYC Art Week.

Because while I’m often looking at art through the lens of my clients, thinking about hospitality, scale, interiors, budgets, and what works where, this week always gives me something a little different.

It lets me shift perspective.

To stop asking, “Would this work for a project?”

And start asking:

“What’s happening here?”

What feels fresh.
What feels overdone.
What keeps showing up.
What the work, collectively, seems to be saying.

And after a week of fairs, booths, conversations, client walkthroughs, and approximately 40,000 steps… here’s what stood out most.

1. Color Is Back… But She Grew Up

Let’s talk about color.

Joe Bradley at David Zwirner Gallery at Frieze

Because yes, art is obviously colorful.

But there’s a difference between color… and color.

For the past few years, especially post-pandemic, I’ve seen a major rise in bright work that often felt like color for color’s sake.

A lot of dopamine.
A lot of visual optimism.
A lot of “look at me!”

And while I fully understand why that happened…

Some of it, if I’m being honest, veered a little too close to could-be-on-a-mom’s-fridge territory.

This year?

Different story.

My new fan favorite, Kristin Giorgi at NADA

Color was still vibrant.
Still bold.
Still very much alive.

But it felt more sophisticated.

More restrained.
More intentional.
Better edited.

The palettes were sharper.
The compositions were stronger.
Brightness felt less like a gimmick and more like a confident choice.

It wasn’t color screaming.

It was color speaking with taste.

Howardena Pindell, Autumn 2024, at Frieze

Basically?

Color is still here.

She just grew up.

2. Metal, But Make It Art

Another thing I saw everywhere?

Metal.

Gong (2012) by David Shrigley at Frieze

But not in the sleek, polished, luxury-material kind of way.

This year, metal felt unconventional.

Broken-down instruments.



Air purifiers.
Industrial scraps.
Repurposed objects of all kinds being transformed into art.

Gozié Ojini, Save Your Breath, 2026 at Esther Art Fair

And honestly?

I loved it.

Pretty much anything you can think of was being reimagined.

Metal felt less like a finish… and more like a medium for reinvention.

Bent.
Layered.
Reworked.

There was something really compelling about seeing everyday or discarded materials stripped of their original purpose and turned into something expressive.

It felt inventive.

Axil Vernet, Heat Exchange Poem, at Frieze

A little industrial.
A little chaotic.
A lot more creative than expected.

This wasn’t about perfection.

It was about perspective.

And this year, artists seemed deeply interested in proving that almost anything, in the right hands, can become art.

3. Mid-Tier Art Is Getting Really Good

And maybe one of my biggest takeaways this year?

Mid-tier art is getting really good.

Beck Lowry, Rewild Me,2025 at NADA

I’m talking about that sweet spot, not ultra blue chip, not museum-level, not the names everyone already knows… but the work in that beautifully in-between category.

And wow.

It just keeps getting better.

More refined.
More thoughtful.
Better executed.

There’s a level of quality rising in this middle ground that feels incredibly exciting.

Carolina Hermenes, Los Puntos Cardinales de mis Papas, 2024 at NADA

Because it means sophistication isn’t reserved exclusively for the top.

You don’t need the biggest name or the biggest budget to find work that feels relevant, elevated, and genuinely compelling.

As someone constantly sourcing through both a design lens and a market lens, this matters.

Because it means more access.
More possibility.



More artists creating truly strong work before they become unreachable.

Terri Friedman, What Could Go Right?, 2023, at Independent Art Fair

Basically?

The middle is not mediocre.

Final Thought

What I love most about NYC Art Week is that beyond the spectacle, it offers signals.

Simon Evans, Untitled, 2005, at Independent Art Fair

Little clues.

About where taste is shifting.
Where materials are evolving.
Where artists are pushing.
Where the visual conversation is headed next.

And this year?

I saw sophistication in color.
Reinvention in materiality.



And a serious rise in quality where people may not always be looking first.

Which is to say…

There’s a lot happening.

And I, for one, am paying attention.

💌 Elle

P.S. If you’re interested in an NYC Art Week inspiration presentation, definitely reach out, I’ll be putting a deeper dive together this week. And if you hit the shows too, did you pick up on any trends? I’d love to hear.

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