About the author: Millie Walton is a London-based writer. Her work has appeared in The Guardian, Burlington Contemporary, Flash Art, and Wallpaper, among other publications. She also writes fiction and poetry and is the founder of Babe Station, an ongoing research project exploring the relationship between motherhood and making art.
CollectivistX is neither affiliated with nor sponsored by the institutions and individuals mentioned in the essay.
The art world loves to hate art fairs. Mention this year’s Frieze London or Art Basel to any art journalist, curator, artist, or gallerist, and they’ll likely lament the exhaustion and expense, the crowdedness and predictability, and how there’s never enough to eat or drink. Yet the idea of not attending is almost unthinkable. Why? Because art fairs are more than just places to buy or see art—they’re the ultimate networking platform.
Frieze London 2024. Photo by Linda Nylind. Courtesy Frieze / Linda Nylind.
Why Go
“Art fairs offer collectors an opportunity to discover a diverse and global selection of galleries with the convenience of visiting them under one roof,” says art consultant and curator Melissa Digby Bell. “They can give collectors a strong snapshot of a gallery’s artist roster and identity without having to gallery-hop across a city. You can also discover a broad collection of artworks and artists—ones that you might not have considered just seeing online—and are often more impactful in person.”
Digby Bell attends fairs primarily for research, seeking artists who might be suitable for her clients or projects and getting a broader sense of what’s being made and shown globally. “I don’t tend to buy directly at the fair. I prefer to engage more in-depth with the artist and gallery before committing to a purchase,” she says. This approach can be helpful for new collectors still shaping their tastes as well as seasoned collectors looking to expand or connect with galleries and artists.
Namita Parekh, a collector and founder of Artcurio Foundation, also prefers to build relationships before purchasing and uses fairs as an opportunity to deepen her knowledge. “Many fairs host exceptional panel discussions, workshops, and lectures, which provide invaluable learning opportunities. Without a traditional background in art history, these educational events allow me to learn directly from thought leaders about trends, influential movements, and evolving practices,” she says.
What to Expect
Art fairs aren’t known for their visitor experience. For one thing, there are never enough chairs, and the cafes are never where you think they’ll be. You’ll notice that most gallerists wear flat shoes or trainers, and you’ll want to do the same if you don’t want sore feet by the end of the day. As well as art, gallery booths often feature a prominently placed bottle of champagne and accompanying flutes, which might look tempting, but unless you’re a VIP, it can be hard to wangle a glass. Bring your own hydration, snacks, and a fully charged phone; a notebook and Polaroid camera might seem charming, but an iPhone is often quicker and more discreet. And when snapping a work, make sure to capture the corresponding labels—otherwise, an artwork might get forever lost in the void of your photo reel. (Which artist made those bobbing inflatable penguins at Frieze London again?)
Palace Enterprise, Frieze London 2024. Photo by Linda Nylind. Courtesy Frieze / Linda Nylind.
Inside the Fair
If you’re a seasoned collector, you probably know exactly where you’re going once you emerge from the ticket queue and bag check. For everyone else, the rows of white-box exhibition spaces can be overwhelming. Digby Bell suggests either planning a route ahead by looking at the floorplan and selecting a few booths you’re interested in or, as she does, starting at one end and making your way up and down the rows. Alternatively, try the flâneur’s approach by following your eyes (or ears).
Making Connections
Now you’re in the thick of it, rubbing shoulders with the great and the good of the art world. If you’re looking to expand your network, you’ve come to the right place—but how and where to start? Kristin Hjellegjerde, founder of Kristin Hjellegjerde Gallery with locations in London, Berlin, and West Palm Beach, encourages visitors to her booth to ask questions: “We love talking about the artists we represent, so feel free to reach out! Relationships can grow from this, and who knows—maybe one day, you’ll get first choice when new work comes along.”
Hjellegjerde advises new collectors not to rush into making a purchase. “Go for work that genuinely resonates with you. Your tastes may evolve, and that’s okay, but art gives you an opportunity to connect with something that moves you,” she says.
Frieze London 2024. Photo by Linda Nylind. Courtesy Frieze and Linda Nylind.
To Buy or Not to Buy
What if you see something you love? According to Hjellegjerde, the approach can vary depending on where you’re from. In her experience, “Americans tend to be quick and direct, while Europeans often need more time and are less blunt about asking prices.”
If you’re not ready to discuss price, enquiring about availability is a softer way to show interest. Keep in mind that it’s not unusual for major galleries to sell out their booths on day one; if you miss out on a piece, it’s still worth establishing a connection. Sign up for the gallery’s mailing list, start following them and any artists of interest on social media, and make note of upcoming exhibition openings you might attend.
“In my experience, being genuine and transparent helps immensely in building authentic connections,” says Parekh. “People resonate with honesty, especially when they see a genuine interest in an artist or a particular piece. It’s all part of building a meaningful collection.”