Danh Voh, We the People (detail), 2011. Image courtesy of artist and Galerie Chantal Crousel.


Liberty Island may be south of the venue, but Voh's installation, from larger series, looks to reproduce in copper fragments, the Statue of Liberty.

Rosy Keyser, Ursa Minor Sex Blues, 2013.  Image courtesy artist and Peter Blum Gallery.


Keyser's works have a raw, architectural beauty to them that nevertheless points to an agility and precision than underlies even her most frenzied creations.

Katty Grannan, installation shot. Image courtesy artist and Salon 94.


The established photographer's gritty photographs unflinchingly convey an emotional sincerity and vulnerability that evinces both respect and empathy for the subjects presented.

ART& LANGUAGE, Hostage XLIX, 1990-2011. Image courtesy the artist and Lisson Gallery


The murky wash of compressed oils over the detailed rendering of a tree (the term is decalcomania, for those in the know) is a meditative testament to the British collectives resistance to categorization.

Nick van Woert, Universal Gym, 2013. Image courtesy artist and Grimm Gallery.


Making it in the art world requires no small amount of flexing creative muscle. But beyond the obvious connotations of endurance and cosmetics, van Woert's works remind us that, underneath our posing, it's all just really for the sake of the show.

Farhad Moshiri, Top of the World, 2011. Image courtesy artist and The Third Line.


Moshiri's jubilant Top of the World, comprised of hundreds of iridescent, Christmas decoration-like baubles, adds a note of levity to the exhibition of works from the leading Dubai-based gallery.

Jack Early, WWJD, Cross, Footprints, Clouds, Original Audio Track: Hey Jesus, 2012. Image courtesy artist and McCaffery Fine Art.


Amidst the fair chaos, Early’s mordant installation cheekily references the musical influences upon his work, notably the Beatles as well as Jesus Christ Superstar.

Hans Peter Feldmann, Old Paintings with Red Noses, 2012. Image courtesy artist and Galleria Massimo Minini.


Just when the art world looks to be taking itself a tad too seriously during this years' exhibition, Feldmann's work offers a jaunty rejoinder to the fair and its habitués.

Adam Fuss, The Space Between the Garden and Eve, 2013. Image courtesy artist and Cheim Reid.


The English-born Fuss has been producing photographs whose subjects hover somewhere between the ghostly and the embodied, the mortal and the profane. This work is no different.

Nicole Eisenman, installation shot. Image courtesy artist and Susanne Vielmetter Los Angeles Projects.


Eisenman's playful, often macabre paintings never cease to draw admirers. With several large exhibitions on, or in the works, she's an artist to watch.