Eight years ago, the Frieze Art Fair pitched a tent on Randalls Island in New York’s East River, where it established an annual spring counterpart to its autumn affair in London. The sinuous white bivouac had its lures (even, crisp light, a swanky food court) and its drags (getting there was a schlep, and one year the air-conditioning broke down and turned the tent into a sauna). But you went to Frieze New York for its global assembly of some 200 art galleries, especially young ones.
Those galleries will be participating in Frieze New York’s online-only 2020 edition, which opens to the public on Friday and runs until May 15; it is accessible through the organization’s website (frieze.com), as well as through a dedicated app. Expect digital viewing rooms from more than 60 New York galleries — including Andrew Kreps, which will display Camille Blatrix’s “Dawson Crying,” a panel of inlaid wood depicting the sobbing star of “Dawson’s Creek” — as well as dealerships from Glasgow, Brussels, Johannesburg, Seoul and other cities we won’t be flying to any time soon. More than a dozen galleries are offering works by female artists from Chicago, such as Gertrude Abercrombie, Gladys Nilsson,