Frieze Alters Rules, Nomadic Galleries Thrive Amid Changing Market

(MENAFN- USA Art News) Art fairs are increasingly embracing galleries without permanent physical locations, a trend highlighted by Frieze 's recent rule change. The organization, which oversees several major contemporary art fairs, formally removed the requirement for galleries to operate a physical space from its eligibility criteria earlier this year, starting with Frieze Seoul. This shift allows more flexible models to participate.

This year, Bolanle Contemporary stands as the sole nomadic gallery exhibiting at Frieze London. Its founder, curator, and arts educator Bolanle Tajudeen, who also established the online art school Black Blossoms, launched Bolanle Contemporary in 2023 without a fixed location or an initial artist roster. Since then, it has presented at Frieze's No.9 Cork Street, Sadie Coles HQ, and various fairs in London and Miami Beach.

Kristell Chadé, executive director of fairs at Frieze, noted that many exciting galleries today operate either without permanent spaces or through a combination of temporary exhibitions, collaborations, and fairs.“We want our eligibility criteria to recognise the quality of a gallery's programme rather than prescribe a single way in which it must operate,” Chadé stated.

Eva Langret, Frieze's director for Europe, the Middle East and Africa, highlighted Tajudeen's long-standing presence in London's art scene, creating opportunities for underrepresented artists. At Frieze London, Bolanle Contemporary is participating in the Artist-to-Artist program, where established international artists select emerging ones for solo presentations. The New York-based Dominican artist Firelei Báez chose Dominican American artist Eilen Itzel do Espírito Santo, a 2024 MFA painting graduate from the Slade School of Fine Art, who is exhibiting abstract paintings, prints, drawings, and sculptures.

Tajudeen emphasized that operating without a physical space was a matter of necessity, not defiance, citing high overheads associated with permanent locations and international fair participation. While she aims to establish a physical space eventually, she believes the current market does not support it. This sentiment echoes broader industry challenges, with some prominent galleries closing prime locations to remain viable, such as Stephen Friedman Gallery, which shut its Tribeca space last year before closing its Cork Street flagship in February.

The changing landscape offers opportunities for gallerists to redefine their roles. While a lack of physical space can mean fewer spontaneous connections, it also allows for varied venues and approaches. Chadé observed a greater“willingness to think differently about how they support artists and create meaningful encounters with their work.”

In 2024, Artsy described the nomadic gallery model as a post-pandemic trend driven by rising real estate costs, increased technological reliance, and sometimes, ethical considerations. For some, like Superposition Gallery, founded by artist, curator, and writer Storm Ascher in 2018, this model is fundamental. Superposition primarily shows in temporary spaces across Los Angeles, New York, and Miami, including exhibiting at Frieze Los Angeles for the past two years, making it an early adopter of the model at Frieze's contemporary art fairs before the rule change.

Ascher noted that despite galleries' credibility often being measured by square footage, Superposition is thriving. It exhibited February James and Greg Ito at Frieze Los Angeles. The Philadelphia Museum of Art acquired a piece by Helina Metaferia from its 2026 stand at Expo Chicago, and artist Zoë Pulley won the inaugural Bronx Museum Acquisition Prize at this year's Armory Show. Ascher treats each booth as a unique exhibition, designing it around the artist's world, which has garnered a remarkable response from collectors and institutions. Superposition also actively involves local communities, providing opportunities for engagement, such as bringing Alex Anderson to the Seattle Art Fair in his hometown, which extended into community dinners and gatherings. Ascher cited criticism of the 1893 Chicago World's Fair, where Ida B. Wells and Frederick Douglass protested the exclusion of African Americans, as inspiration for her approach to building trust through full participation.

Tajudeen defines Bolanle Contemporary's approach as“artist-first,” focusing on securing institutional placements, press coverage, curator introductions, and expanding networks for artists. This strategy also allows the gallery to allocate more resources to exhibitions. Tajudeen prioritizes solo and two-person shows, aiming to curate memorable and museum-worthy installations, viewing solo shows as excellent marketing for artists, while group shows serve as marketing for the gallery.

For the 2025 edition of the alternative art fair Minor Attractions, known for using luxury hotel rooms as gallery spaces for the past three years, Bolanle Contemporary transformed its room at The Mandrake Hotel into a traditional Jamaican wake. This presentation by artist Ramone K. Anderson was a shrine-like memorial inspired by Jamaican Nine-Night, featuring a stereo, hanging clothes, shelves of collectibles, and CDs. It received the WYN Exhibitor Prize for best domestic booth presentation. The previous year, the gallery recreated a classic Congolese living room for British-Congolese artist Djofray Makumbu 's show at Minor Attractions, complete with a nostalgic 1970s television, videos, and music from the country. Tajudeen emphasized creating unique experiential exhibitions with artists, avoiding set design or gimmicky aesthetics.

Tajudeen expressed her dislike for the term“nomadic,” finding it unsexy and not fully encompassing her gallery's activities. Instead, she prefers to call Bolanle Contemporary“a contemporary art gallery with an international exhibition programme,” believing that more sophisticated language could encourage others in the arts to adopt this flexible model.

Source: The Art Newspaper

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