In the world of art, where trends and tastes can be as fleeting as the latest fashion, it's refreshing to discover a curator who not only has an eye for the extraordinary but also the courage to showcase artists who challenge our perceptions. Gary Carrion-Murayari, the new curator at the New Museum, has done just that with his selection of Frieze favorites. Each artist featured in this exhibition tells a unique story, and Carrion-Murayari's curation is a testament to his keen understanding of the art world's diverse tapestry.
What makes this exhibition particularly fascinating is the curator's ability to blend the familiar with the unexpected. For instance, the inclusion of Arthur Simms' 'Insect in the Wall' (2024) is a delightful surprise. Simms, an artist who has been working with the gallery for the past few years, creates sculptures from discarded objects, drawing inspiration from the Jamaican assemblage tradition. This not only showcases the artist's skill but also highlights the beauty in everyday waste, a concept that is both thought-provoking and inspiring.
Another standout piece is Haegue Yang's 'A Matter of Fact (from Dan)—Peep Asymmetry' (2025), which is on display at the Kukje Gallery. Kukje, a gallery based in Seoul, has been instrumental in bringing US artists to Korea for the first time. Yang's work, which is both kinetic and animated, reflects the poetry of everyday surroundings, inviting viewers to see the extraordinary in the mundane.
The exhibition also features Abel Rodriguez and Aycoobo-Wilson Rodríguez's 'Terraza Vajá' (2022), a piece that speaks to the history of the environment in Colombia. The father-son duo, who participated in the 2024 Venice Biennale under curator Adriano Pedrosa, has created a work that is both visually stunning and conceptually rich, offering a unique perspective on environmental history.
Sung Tieu's 'Untitled' (2026), on display at Emalin, is another highlight. Tieu, one of two German artists representing Germany at the Venice Biennale this year, has created an exceptional pavilion façade that is both conceptual and political. Her work delves into the history of immigration in Germany, inviting viewers to reflect on the complexities of cultural identity.
Maryam Hoseini's 'Oblique Horizon (Bird of Paradise)' (2026), which was part of a three-person show at the New Museum, is a delightful surprise. Hoseini, a playful painter who focuses on the body and performance, has created a piece that is both visually striking and conceptually intriguing. Her work challenges the viewer's expectations, inviting them to reconsider their preconceptions.
Pedro Neves' 'Untitled' (2026), which is on display at Mitre Galeria, is a piece that has triggered something in the curator. The artist's connection to the Amazon, where the curator's father was from, has created a personal resonance that is both powerful and moving. This piece serves as a reminder of the importance of personal history in shaping our understanding of art.
Finally, Melvin Way's 'Purple Haze' (around 2008), which is on display at Andrew Edlin Gallery, is a small-scale masterpiece. Way's intricate drawings on tiny bits of paper are a testament to the artist's skill and attention to detail. While the curator prefers Way's smaller works, this piece is a delightful surprise, showcasing the artist's ability to create beauty from the smallest of materials.
In my opinion, Gary Carrion-Murayari's curation of Frieze favorites is a triumph. His ability to blend the familiar with the unexpected, to showcase the extraordinary in the mundane, and to highlight the personal resonances that art can evoke, makes this exhibition a must-see. It is a testament to the power of art to surprise, to inspire, and to challenge our perceptions, and it is a privilege to witness such a remarkable collection of works.
One thing that immediately stands out is the curator's commitment to showcasing artists who are often underappreciated. Carrion-Murayari's selection is a celebration of diversity, both in terms of artistic style and cultural background. This not only enriches the art world but also offers a broader perspective on the human experience, reminding us that art is a universal language that transcends borders and boundaries.
What many people don't realize is that art curation is not just about selecting the most popular or well-known artists. It is about discovering hidden gems, nurturing emerging talent, and presenting works that challenge our assumptions. Carrion-Murayari's exhibition is a prime example of this, offering a fresh and thought-provoking perspective on the art world.
If you take a step back and think about it, the curator's selection is a reflection of his own personal journey and interests. Carrion-Murayari's fascination with the personal resonances that art can evoke is evident throughout the exhibition, and it is this personal touch that makes the collection so compelling. It is a reminder that art is not just a collection of objects but a reflection of the human experience, and it is through this lens that we can truly appreciate the beauty and complexity of the works on display.
This raises a deeper question: What makes an art exhibition truly great? Is it the technical skill of the artists, the historical significance of the works, or the personal resonances that they evoke? In my opinion, it is a combination of all these factors, and Gary Carrion-Murayari's curation of Frieze favorites is a testament to this. It is a celebration of the human experience, a reflection of the curator's own interests and passions, and a reminder of the power of art to surprise, inspire, and challenge our perceptions.
