Wright Now

The overall pace and energy was relaxed, almost as if people were looking at art. The dealers seemed to have to time to speak with you, or at least answer a question. And works were available for sale – another marked change from a few years ago when seemingly all the material was instantly on reserve or outright sold. The quality of the fair was down from past years with far more contemporary work being shown. A staple of earlier fairs, Warhol was largely absent. Judd was MIA. Work by Jonathan Monk seemed to be in every other booth. The crowd filled in during the day and sales were occurring – more slowly and in less numbers for sure, but business is being done.

Droog is a new exhibitor this year. I have seen them setup some great spaces in Milan and in the flagship store in Amsterdam but the booth is a bit flat and it lacks the personality to match their witty brand.

Mitterrand + Cramer are another first-timer. They brought a strong mix of contemporary pieces. A quirky toast rack by Tom Dixon was one of my favorite pieces in the fair.

Another favorite was Vivid Gallery installation of Studio Job’s series, The Farm. I am mixed on Job’s work, but when they are on, it has undeniable power. The setup here was perfectly done.

For me, the best stand was by Moss. In a stressful year, Murray continues to present work with his flawless sense of display. His booth had new burnt works by Maarten Baas, Peter Marigold and .MGX but the center was given over to sculptors Cathy McClure and Andy Coolquitt - two new discoveries that shows Murray’s eye remains amongst the best. The large hanging lamps (priced at 8000!) by Coolquitt were especially interesting. Showing good work at accessible prices is the key for keeping the Design fair in the game.

Maarten Baas is the designer of the year, center of the show is his installation. As always, he is one to watch. His work is always interesting.

Design Miami survives. I hope the audience turns out to support the effort.