The highly anticipated 2025 edition of Frieze Los Angeles closed on February 23, marking a defining year for the art fair with reports of strong sales, an energetic atmosphere and a vibrant audience that rallied in support of the L.A. arts community. Beyond its commercial success, the fair hosted numerous initiatives that directly contributed to recovery efforts following the region’s recent wildfires. Bringing together the city’s arts community and a global audience, Frieze Los Angeles 2025 reaffirmed its status as a vital cultural moment for the city. Frieze Los Angeles is supported by global lead partner Deutsche Bank, continuing over two decades of a shared commitment to artistic excellence.
The event opened with an invitation-only preview on February 20, welcoming a dynamic mix of attendees, including prominent collectors, museum leaders, and figures from the wider cultural and entertainment industry. Over four days, Frieze Los Angeles welcomed 30,000 visitors from 85 countries, including leading collectors and representatives from at least 150 major museums and institutions. Deepening its collaboration with the wider L.A. arts community, the fair also presented special programming spotlighting museums,artist-run spaces, and nonprofit institutions—celebrating the city’s rich artistic landscape and contributing to its cultural revitalization.
Christine Messineo, Director of Americas, Frieze, said: ‘Frieze Los Angeles was a resounding success. Collectors and institutions engaged with real intent, purchasing with sustained interest throughout the fair, from the opening moments to the final hours on Sunday afternoon. The market has proven its resilience. In the face of recent challenges, the global art community has recognized the vital role of investing in the creative economy. We are deeply grateful to everyone who joined us in this important work, and we look forward to building on the achievements of this year’s edition.’
Claudio de Sanctics, Head of Private Bank and Member of the Management Board, Deutsche Bank, said:‘With Frieze, we are proud to continue supporting talent and creativity in Los Angeles – it is a very special city. Again this year, we were delighted to host many hundreds of clients as well as emerging artists in our Deutsche Bank Wealth Management Lounge, fostering deep connections between collectors and the artistic community.’
Strong Sales and Market Highlights
Frieze Los Angeles 2025 featured 97 galleries from 20 countries, with strong sales across a diverse range of contemporary art, from established figures to some of the most current work in the fair’s Focus section, supported by Stone Island, which champions new artist and gallery voices. The demonstrated interest in allareas of the market highlighted the impact of Frieze’s commitment to supporting both established and emerging talent.
Sold-out presentations included a collaborative showcase of Ambera Wellmann’s paintings by Hauser & Wirth and Company Gallery; David Kordansky Gallery placed all paintings and sculptures from its solo presentation of Maia Cruz Palileo within the fair’s opening hours; Mariane Ibrahim, which sold out its inaugural Frieze Los Angeles presentation featuring Haitian-American painter Patrick Eugène; Bortolami sold out their booth, including works by Naotaka Hiro, Rebecca Morris, and Madeline Hollander; Casey Kaplan, which sold out its solo booth of works by Sydney Cain and Altman Siegel sold out its booth of new oil paintings by Laeh Glenn. This year’s fair also saw numerous seven-figure sales. David Zwirner reported major sales, including an Elizabeth Peyton painting for $2.8 million, a Noah Davis work for $2.5 million, anAlice Neel painting for $1.8 million, and a Lisa Yuskavage painting for $1.6 million. Gladstone Gallery saw quick success with a Keith Haring painting on glass for $2 million, as well as several Robert Mapplethorpe photograph editions priced between $200,000 and $300,000 each, and an Ugo Rondinone painting for$240,000, among other works. Thaddeus Ropac made significant sales including a painting by Georg Baselitz for €1,000,000 and a painting by Alex Katz for $800,000. Michael Rosenfeld Gallery placed multiple works, including a Ruth Asawa sculpture in the region of $1 million. Johyun reported opening day sales totaling seven figures from its dual presentation of Lee Bae and Kishio Suga. Xavier Hufkens placed major works including a painting by Tracey Emin for approximately £1,200,000, a sculpture by Antony Gormley for £375,000, two paintings by Sterling Ruby for $140,000 and $85,000, two paintings and asculpture by Mark Manders in the range of €30,000 to €110,000 each, and a painting by Sayre Gomez for $60,000. Pace sold multiple works including a 2021 installation by James Turrell for $900,000, Robert Indiana’s 1966-1996 sculpture LOVE (Red Outside Blue Inside) for $600,000, and a new painting by Loie Hollowell for $325,000.
BLUM reported swift business, including sales of an anchor work by Yoshitomo Nara for $750,000; White Cube sold works including a Howardena Pindell painting for $325,000, a Tracey Emin acrylic and pencil on canvas for £125,000, and a Danica Lundy painting for $75,000; Tina Kim Gallery reported multiple sales, including a Ha Chong-Hyun work in the range of $375,000 to $400,000, a bronze sculpture by Ghada Amer between $80,000 and $100,000, and a work by Suki Seokyeong Kang in the range of $75,000 and $90,000; for their debut presentation at Frieze LA, Timothy Taylor saw strong sales, including a sculpture by Annie Morris for roughly £155,000, an Antonia Showering painting for £60,000, and a Sahara Longe painting for£60,000; Night Gallery placed two works by Jesse Mockrin priced between $100,000 and $120,000 each, as well as three works by Sterling Wells between $10,000 and $20,000 each; 303 Gallery sold multiple ceramic works from their Sam Falls solo presentation, priced between $50,000 and $60,000 each, alongside two paintings priced at $60,000 each; Nara Roesler sold works including a Amelia Toledo sculpture for $50,000 and three Vik Muniz editioned series for $45,000, and Parker Gallery sold works by Marley Freeman, Karin Gulbran, Claudia Keep, Sahar Khoury, Joe Minter, and Daisy Sheff.
Kukje placed works including a Park Seo-Bo painting in the range of $250,000 to $300,000, a Kim Yong-Ik painting between $200,000 and $240,000, and a Kim Yun Shin painting between $140,000 and $168,000; Jessica Silverman sold most of their booth in the early hours of the opening day, including a Loie Hollowell work for $170,000, a porcelain wall work by Rebecca Manson for $80,000, and a sculpture by Sadie Barnette for $75,000; Maureen Paley secured major sales including Rebecca Warren's sculpture for £88,000, a GillianWearing bromide print for £38,000, and a Max Hooper Schneider sculpture for $28,000; first time participant Southern Guild made numerous sales including two works by Manyaku Mashilo rangingbetween $22,000 to $26,000 each, three Bonolo Kavula works ranging between $5,000 and $16,000 each, an Alex Hedison work for $17,000, and a Zanele Muholi print for $22,000; Nazarian / Curcio made sales including four paintings by Summer Wheat priced between $40,000 and $70,000 each, and seven works by Vincent Pocsik ranging from $7,000 to $30,000 each; L.A. Louver placed an Alison Saar woodcut print, Mutiny of the Sable Venus (2024) to the MSU Broad Art Museum in Michigan, sold paintings by Heather Gwen Martin priced between $14,000 and $26,000, in addition to selling numerous digital prints by Gajin Fujita and Saar that benefited the L.A. Arts Community Fire Relief Fund; Sebastian Gladstone sold seven bronze and wood sculptures by Emmanuel Louisnord Desir, priced between $10,000 and $40,000 each, and kaufmann repetto made sales including a Katherine Bradford painting between $80,000 and $100,000, a Magdalena Suarez Frimkess & Michael Frimkess work in the range of $80,000 to $100,000, a Kresia hMukwazhi painting priced between €20,000 and €30,000, a Corydon Cowansage painting between $20,000 and $30,000, and a Pae White painting priced between $65,000 and $85,000.
Focus, the section of the fair that provides a platform for emerging US-based galleries under 12 years of operation, was curated by Essence Harden (Curator, Made in LA 2025) for the second time, with many participants reporting sold out booths and important acquisitions. Carlye Packer sold out their booth of works by Brandon Landers, priced between $16,000 and $54,000; Dominique Gallery made several sales inthe range of $8,000 to $40,000, including an institutional placement to LACMA from their solo presentation of local artist Adee Roberson; Dreamsong sold acrylic, silver nitrate, and glass on canvas works by Edgar Arceneaux in the range of $16,000-$100,000 each; Make Room placed all works from their solo presentation of artist-engineer Xin Liu to prominent private and museum collections, with prices between $20,000 and $50,000 each; Babst sold two large works on paper by Athena LaTocha for $45,000 and $55,000; Nonaka Hill sold multiple works by Sawako Goda, priced between $25,000 and $50,000 each; and Tyler Park Presents sold several pieces by Henri Paul Broyard each priced between $3,000 and $12,000.
Supporting Los Angeles Communities Through Fire Relief Efforts
A key highlight of Frieze Los Angeles 2025 was its philanthropic initiatives, which provided direct support tothose affected by the recent fires.
Galleries Together
Victoria Miro opened their booth for the group presentation Galleries Together, which invited exhibitors and artists across the fair to contribute works in a curated group presentation with proceeds of sales directly benefiting the L.A. Arts Community Fire Relief Fund. Works were sold through all days of the fair, including Victoria Miro placing Tidawhitney Lek’s Made in Cambodia (2024) and Jemima Murphy Life in Violet (2024) each in the range of $15,000 to $20,000; Lehmann Maupin sold Liza Lou’s work on paper (2013) for $25,000; David Kordansky Gallery sold Maia Cruz Palileo’s sculpture Spotted Aspin (2024) for $8,000; Kaikai Kiki Gallery sold the Tomoyumi painting Sunday Afternoon (2023) for $17,000, Chinatsu Ban’s painting Baptism in Mexico (2022) for $5,700, Ban’s Close Encounters of the Third Kind for $1,900, and a ceramic piece by Shin Murata and Takashi Murakami for $3,000; L.A. Louver sold Rebecca Campbell’s painting Salmon River Gold (2023) for $8,500; and 303 Gallery sold Erin Falls and Sam Falls’ ceramic piece Concord (2025) for $3,000.
An expanded selection of works presented at the fair and more will continue to be available at Frieze’s online viewing room following the close of the fair.
Frieze Arts Alliance
Frieze launched the Frieze Arts Alliance as part of this year’s edition of Frieze Los Angeles. The new initiative unites major collecting institutions from across the US in their shared commitment to supporting galleries and strengthening LA’s creative networks through active acquisition efforts. Galleries from across the fair reported on the significant institutional engagement from museums with local, national, and international presence. Through this effort, Frieze will continue to help shape the future of museum collecting efforts while championing the work of local galleries and artists.
The California African American Museum, a part of the Frieze Arts Alliance, purchased two Darrel Ellisworks, Untitled (Bathing Beauty) (1987-1989) and Untitled (Bathing Beauty) (1988-1991) from Hannah Hoffman Gallery.
Institutional and Civic Acquisition Funds
For its inaugural year, the Mohn Art Collective (MAC3): Hammer, LACMA and MOCA acquired two works from the Focus section: Edgar Arceneaux’s Skinning the Mirror (Summer 1) (2025) from Dreamsong, and Shaniqwa Jarvis’ Slowly, Surely (2025) from Sow & Tailor to be added to the MAC3 collection, managed jointly by all three institutions. The fund, amounting to $75,000, was contributed by Los Angeles philanthropists Jarl and Pamela Mohn and Frieze.
The City of Santa Monica’s Art Bank acquired Edgar Arceneaux’s work Skinning The Mirror (Winter 9) (2025) from Dreamsong’s presentation in the Focus section for the Santa Monica Art Bank Acquisition Fund.
Frieze Projects
This year, Frieze Projects included public artworks installed on-site, curated by Art Production Fund and titled Inside Out. The special section features site-specific works by Lita Albuquerque, Jackie Amézquita, Claire Chambless, Joel Gaitan, Madeline Hollander, Greg Ito, Ozzie Juarez and Dominique Moody, in an exploration of perspective: how personal histories and experiences shape an understanding of Los Angeles, its culture and landscape.
Each day of the fair, Claire Chambless hid 100 different eggs throughout the fair campus, both within the tent and the Airport site with small unique sculptures within each golden plastic egg. Ozzie Juarez gave out 1,000 uniquely packaged objects sourced from swap meets from across the greater Los Angeles area. Dominique Moody offered visitors private tours each day of her artwork Nomad, a mobile dwelling inspired by found objects and salvaged materials presented in collaboration with Destination Crenshaw. Madeline Hollander’s Day Flight allowed fair visitors to embody various forms of movement as part of a choreographed flight plan over panoramic vistas of Malibu and the Pacific Palisades as part of a deeply personal reflection on the conditions of living with global climate crises. In total 27 flights were offered throughout the four days of the fair.
Deutsche Bank Film Award
The fair also saw the sixth edition of the Deutsche Bank Frieze Los Angeles Film Award. Realized in collaboration with acclaimed non-profit Ghetto Film School and global film and TV studio FIFTH SEASON, the Frieze Los Angeles Film Award has been widely recognized within the industry as an incubator for next- generation talent. Since its launch in 2019, the initiative has supported over 40 fellows, providing a platform for emerging voices in filmmaking.
Ja’Lisa Arnold was named as the winner of the $10,000 prize, for her film Grief Cannot Exist Without Joy that centers on Tobi, a talented musician, struggling with the recent loss of his brother Lou. Christopher Guerrero was revealed as the winner of the Audience Award, voted for by the public, and receiving $2,500. His film, Reprogrammed, is set in retro-future LA, where Andrea, a lonely roboticist, has neglected her life to complete her masterpiece, IRIS, the “Integrated Reactive Intelligence System.”
Britta Färber, Global Head of Art & Culture, Deutsche Bank, said: ‘Deutsche Bank firmly believes in the power of contemporary art to inspire, connect communities and transcend boundaries. We have been collecting works on paper and photography by international artists for over 40 years and have developed one of the world’s leading corporate collections, discovering many artists through our global partnership with Frieze. This year at Frieze Los Angeles we were again active and are pleased that the Deutsche Bank Frieze L.A Film Awards support filmmaking talent as the city rebuilds.’
Partners and Non-profits
The recipient of this year’s Frieze Los Angeles Impact Prize of $25,000 was Victor ‘Marka27’ Quiñonez. The fair debuted his ‘I.C.E SCREAM’ series, a collection of paintings and sculptural installations confronting the immigrant experience and speaking to the beauty, strength and resilience of migrant workers, street vendors and Indigenous cultures. A distinguished panel including Pamela J. Joyner and Sable Elyse Smith, selected Quiñonez’s proposal for the award in collaboration with Taylor Renee Aldridge who joined as the 2025 Frieze Los Angeles Impact Prize curator.
In collaboration with Rosetta and Violet Getty, Frieze Los Angeles debuted an exclusive t-shirt featuring original artwork that was sold on-site at the fair. All profits from sales benefitted the L.A. Arts Community Fire Relief Fund, established by the Getty to aid artists and arts workers impacted by the Eaton and Palisades fires.
Summaeverythang Community Center, a non-profit founded by artist Lauren Halsey, showcased the organization’s vision for a permanent hub offering education, health, wellness, and art through creativity, connection, and empowerment. The fair collaborated with AMBOS (Art Made Between Opposite Sides) to present Frutas Coquetas (Sexy Fruit), an installation of ceramic works created by artists in a trauma-informed ceramics program for refugees and asylum seekers. All proceeds benefited undocumented residents and workers affected by the fires. Additionally, a new collaboration with the Black Trustee Alliance on the legacy of Altadena’s Black and POC communities was inaugurated in the aftermath of the Eaton Fire. The project featured a panel discussion with Kenturah Davis and Leah Thomas (Green Girl Leah), alongside an activation within the fair’s tent.
Images courtesy of Frieze
Image credit: Jojo Korsh/BFA, Max Christiansen/BFA, Nina Fernandez/BFA
