February 20, 2025, marked the opening of Frieze Los Angeles 2025, its sixth edition, held at Santa Monica Airport, where the sun greeted this recovering city still grieving from extensive wildfires from just weeks ago. From my perspective as an art reporter, this year’s fair was more than an exhibition—it served as a rallying point for the creative community of Los Angeles. In this year’s edition, a staggering 95+ galleries attended from over 20 nations, and the list of attendees included the who’s who of this industry. With unmatched attendance and sales, Frieze Los Angeles 2025 was a reminder that art prevails even in challenging situations. Here’s a deep dive into the footfall, prominent galleries, daily stories, and sales details that defined this unforgettable event.
Frieze Los Angeles 2025: Economic Impact Walks Hand in Hand With Art Culture Development
Foot traffic during the show literally placed Frieze Los Angeles 2025 at the center of L.A.’s art week. On Day 1, VIP previews opened to long lines full of enthusiastic people, who passed all boundaries of expectation and, as per Ms. Messineo’s comments, were “a delight to work with.” Art-loving Angelenos, along with collectors from all over the world, flocked to Los Angeles, together with some A-listers like Gwyneth Paltrow, Oliver Stone, Katie Couric, Kid Cudi, and Gunna. Notable American collectors, like Larry and Allison Berg, Lauren Tasch, and the Rubells family, were happily spotted getting lost in the aisles, claiming a positive sign for the rest of the Loyalist global art economy.
The “bustling but not overwhelmed” attendance claims also stand strong to Los Angeles’ fires in January. Messineo added to it by explaining the far-reaching economic effects of the exhibit by, as she put it, going far beyond the art market,” pulling together local staff like chefs, security, and light workers. Already by the end of the weekend of February 23-3, foot traffic estimates suggested that Frieze Los Angeles was a tent city for more than a few tens of thousands of people, which we can definitely believe not only highlights the impressive cultural remembrance of Los Angeles but also its community spirit.
At Frieze Los Angeles 2025, both international and domestic galleries showcased their best work. Gagosian set the mark with the introduction of Chris Burden’s Nomadic Folly (2001), a large-scale installation of sensual textiles accompanied by Turkish-Armenian music. David Zwirner stunned auction crowds with his sale of Elizabeth Peyton’s painting for 2.8 million. Gladstone Gallery reinforced their position as market leaders by selling a Keith Haring work on glass for 2 million dollars.
In collaboration with Company Gallery, Hauser and Wirth exhibited a solo booth of Ambera Wellmann’s works, which sold for astonishing prices between $150,000 and $210,000. There is increased interest in emerging artists. Brussels-based Xavier Hufkens sold a Tracey Emin canvas for €1.2 million. He also sold more than ten pieces made by Mark Manders and Constantin Nitsche priced between €15,000 and €50,000. Here in LA, David Kordansky Gallery sold out all of the pieces in his solo presentation of Sam McKinniss. Mariane Ibrahim Gallery was able to sell out the work of Haitian American Patrick Eugène and Jennifer Rochlin on the first day.
They ceased their regular operations and incorporated a “Galleries Together” initiative into their booth at Victoria Miro. All profits were designated to aid the LA Arts Community Fire Relief Fund. Such an altruistic pivot showcased how Frieze Los Angeles 2025 served the dual objective of contributing towards community welfare, thus extending its relevance beyond business.
Daily Stories from Frieze Los Angeles 2025: A Narration of Healing and Excavation.
Each day at Frieze Los Angeles 2025 was akin to embarking on a journey exploring healing, innovation, and human relationships. On Thursday, February 20, the VIP preview sparked intense excitement as collectors quickly snapped up the prominent pieces available within a few hours. En Focus, the fair’s Focus section curated by Essence Harden, featured new talents like Edgar Arceneaux, who, along with Shaniqwa Jarvis, was already winning accolades in the MAC3 fund. Arceneaux’s Skinning the Mirror (Summer 1) (2025) was made available by the new fund, and Jarvis’s Slowly, Surely (2025) is now part of several museum collections. These works, which were purchased in collaboration with the Mohn Art Collective, reflect the commitment of Frieze Los Angeles 2025 to nurturing local artists.
An influx of celebrities came on Friday, with Gwyneth Paltrow being seen at Xavier Hufkens purchasing a Mark Manders print. The day also saw two Darrel Ellis works being acquired from the Hannah Hoffman Gallery by the California African American Museum, which definitely solidified the fair’s role in institutional collecting. A cultural touch was introduced on Saturday with Massamba Diop performing on the Senegalese drums, which brought in crowds to the Focus section, which featured Athena LaTocha’s wildfire-inspired artwork on paper that was shown at the Babst Gallery and really spoke to the decimated L.A. region.
By February 23 on the Sunday, people seemed to be in a celebratory and reflective mood. The booth of Tilton Gallery that is dedicated to Noah Purifoy’s Joshua Tree assemblages had a lot of sales, while Victoria Miro’s relief aid for the fires garnered a lot of money. Frieze Los Angeles 2025’s daily coverage blended business and compassion and described a city uniting with the art industry, which offered support.
Sales Breakdown: Frieze Los Angeles 2025 Marks a Bulging Market
The art market looked optimistic given the sales and gallery performances at Frieze Los Angeles 2025. Their reported sales across the board were impressive. By the end of VIP Day, Frieze issued a 1500-word email applauding “strong sales” alongside numerous sold-out booths. Leading the charge was David Zwirner with the $2.8 million Elizabeth Peyton sale. Following closely was Gladstone Gallery with the $2 million Keith Haring piece. Pace Gallery sold a Robert Indiana piece for over $500,000, while Michael Rosenfeld Gallery sold a Ruth Asawa painting for around $1 million.
Amid—- tier sales were robust as well. Hauser & Wirth’s Ambera Wellmann works sold for $150,000–$210,000. Jessica Silverman sold Rose B. Simpson sculptures, including one to the Grinnell College Museum of Art. Superposition Gallery sold February James’s “Opposing Beliefs That Come True (2025)” for $15,000, which is a fantastic indicator for emerging artist markets. Xavier Hufkens made $60,000 selling an L.A. Sayre Gomez painting along with eight works from Constantin Nitsche from €15,000 to €50,000.
Economic initiatives like the LA Arts Community Fire Relief Fund, which garnered over $12 million courtesy of sales from booths such as Victoria Miro’s, boosted the fair’s economic effects. As reported by Observer, the sales information of Frieze Los Angeles 2025 already indicated a market recovery, as works priced at $100,000 and above exceeded expectations and were sold at a greater rate than the year prior. This improvement offered a positive perspective for a city and art scene that were in dire need of revitalization.
Frieze Los Angeles 2025: A Phoenix Rising
From the perspective of an art journalist, Frieze Los Angeles 2025 provided a revitalizing dose of optimism and depth. The fair’s attendance demonstrated a community eager to invest; it showcased numerous renowned galleries, combined local and global influences, and the daily narratives encapsulated the vibrant spirit of the city. Every heart pulsated with the pulse of a city in recovery. Conversely, the sales figures only provided a partial picture, with many still anticipating a profitable outcome. Supported by blockbuster sales and grassroots sales, the market was positioned for a comeback.
Jessica Silverman once said, “Los Angeles is like a phoenix rising from the ashes.” Frieze Los Angeles 2025 was a metaphor in living color, showing how art can be a beacon in even the direst of circumstances. This year’s fair had something for everyone, from collectors buying multi-million dollar pieces to artists hoping to reach new fans and even everyday attendees looking to be inspired. Today, February 23, 2025, marks the dismantling of the tents at Santa Monica Airport, confirming that Frieze Los Angeles 2025 was not just an art fair but a celebration of the essence of art itself.
