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[This information comes from the ADAA website with their permission. You may read the entire unedited information on their website by clicking here.]
In the last decade, the art world has become increasingly event-driven. The quantity, quality and variety of art available at the leading art fairs, often exceeds the offerings of the two large auction houses in their semi-annual sales. The biggest fairs, with smaller satellite fairs and long menus of ancillary programming, draw visitors from all over the world. These fairs are travel destinations and social gatherings as well as unparalleled opportunities for collectors to see an outstanding array of top-quality art.
Art fairs offer an exceptionally efficient way to collect. Although some people travel long distances to attend, fairs also give the residents of their host cities a chance to acquire works from a far-flung array of galleries. Beginning collectors can use fairs to develop their eyes and find a direction. Experienced collectors, knowing that dealers often save their best material for fairs, rush to be the first in the door. Fairs can generate an excitement and competitive energy similar to auctions.
Yet there is a downside to art fairs. The competitive frenzy and compressed time frame do not encourage quiet contemplation. Dealers may not have as much time to chat as they would in their own galleries. Art-fair booths are comparatively small, and though dealers put enormous effort into their installations, a booth cannot match the breadth or depth of a gallery exhibition. At a gallery, a collector can usually see many more examples of an artist’s work and get more information before making an acquisition. Though art fairs have their place, collectors should make a point of also visiting galleries.
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