Set to be established in the autumn haze of Regent’s Park from October 14 to 18, 2026, Frieze London and Frieze Masters host 13 special solo selections this year, moving beyond mass crowds to invite viewers into the inner world of a single mind. Rising within the fairground—realized in partnership with Deutsche Bank and fueled by Studio Lenca’s special installation focusing on migration experiences—these independent stops build a layered memory space extending from forgotten narratives to material experiments.
On the Frieze London wing, Latin America’s historic memory of resistance comes to the fore. Dalton Paula at the Lisson Gallery booth brings overlooked figures of Afro-Brazilian history onto canvas through portraits of anti-slavery heroes from the 16th to 19th centuries such as Chico Rei, Zeferina, and Ventura Mina. This restorative stance of the artist on canvas draws a line parallel to his Dupla Cura retrospective at the Inhotim Institute. Marina Perez Simão, presented by Pace Gallery, tests the perceptual limits of colors with layered monochrome landscapes; canvases shifting between blue and pink according to the viewer’s movement establish a serene moment of viewing. In Galerie Jocelyn Wolff’s selection, Miriam Cahn offers a feminist internal reckoning on aging, self-portraiture, and the fragile violence of the body with a rare 24-piece group of paintings and drawings; while at Fortes D’Aloia & Gabriel, Márcia Falcão transforms the body from a rigid form into a conflicted space of experience through multiplying limbs and energetic brushstrokes.
Transforming the beadwork technique she learned with her mother in a wedding dress workshop in Port-au-Prince into Vodou flags (drapo), Myrlande Constant opens her first solo exhibition in Europe with Fort Gansevoort, bringing sequin-adorned Caribbean rituals to London. At the booth of Berthold Pott, participating in Frieze London for the first time, Agata Ingarden constructs a dreamlike architectural universe by combining oyster shells from her Hours of the Dog series, louvered blinds, and cloud-like Hermits sculptures born of construction materials with internally glowing neons. Meanwhile, Sean Landers in Timothy Taylor’s presentation places sailors, clowns, and wild animals in the middle of desolate storms, translating contemporary human anxieties onto canvas in an allegorical language.
On the Frieze Masters front, which expands the periphery of history, there are sculptural and conceptual reckonings that transcend time. Galleria Continua brings together Anish Kapoor’s 1989 sandstone sculpture Not Eve and ceramics from the 1990s, capturing the artist’s first turning points in his pursuit of cavities, voids, and shells. 95-year-old Sudanese master Ibrahim El-Salahi, in his Pre-Pixel series at the Vigo Gallery booth, reaches back to his Slade School years (1954–1957) to exhibit his early explorations where he divided the figure into geometric grids and chromatic abstractions. Elvira Moreno Gallery brings works by Colombian artist Luis Fernando Zapata (1951–1994) to the fair—produced during his Paris period with paper pulp and ritual objects, sealing human vulnerability under the shadow of the AIDS crisis.
Gallery Isabelle unearths for the first time collages on paper spanning 1976–2000 from the personal Tehran archive of Fereydoun Ave, a close friend of Cy Twombly and a nomadic figure in Iranian contemporary art. Ketabi Bourdet exhibits the bold production spanning four decades by Guy de Rougemont (1935–2021), a figure tangenting geometric abstraction and pop art in French postwar art; while Australian Aboriginal artist George Tjungurrayi at the D Lan Galleries booth seals the graphic rhythm of local geography onto London with canvases like Mamultulkulnga and Untitled – Kirrimalunya, inspired by the sacred ceremonial patterns of the Desert people.
