Margot Norton’s Top Picks from Frieze Viewing Room

Claudia Alarcón, A propósito de encontrarse (About Meeting), 2024

Crochet knitting, llama fibre, sheep’s wool dyed with natural pigments by the Tejedores Andinos group and acrylic yarns, 140 × 210 cm. Presented by Proyectos Ultravioleta. $32k 

I recently experienced Claudia Alarcón’s innovative and eye-popping textiles at the 2024 Venice Biennale and the 2025 Mercosur Biennial in Brazil. This work is a stellar example of her practice, which evolves the ancestral traditions of the Whichí people of northern Salta, Argentina, with extraordinary complexity—technical, formal and symbolic.  

Berenice Olmedo, Cipriano, 2024

ThermoLyn orthoprosthetic, cortical screws, surgical steel traumatology instruments, KAFO (knee, ankle, foot orthosis), socket adapters for prosthesis, resin and lead, 175 × 33 × 50 cm. Presented by François Ghebaly. €45k

Berenice Olmedo has become known for her carefully composited and luminous anthropomorphic assemblages with fused prostheses and orthotics. Her humanoid forms are imbued with remarkable movement and pathos and offer profound meditations on the interdependent relationships between the mechanical and the corporeal.

Yuko Mohri, Urban Mining, 2025

Side table, compressed cans, copper wires, model street lights, 52 × 37 × 60 cm. Presented by Tanya Bonakdar Gallery. $10k – $20k 

I have admired Yuko Mohri’s sharp and singular practice for years, and her recent exhibition for the Japanese Pavilion at the 2024 Venice Biennale was a stand-out. Urban Mining (2025) is characteristic of her imaginative approach that unleashes the untapped potential of everyday objects and discarded remains through simple circuits that generate energy and light. 

Rodrigo Hernández, Se vider, se disperser #2, 2025

Oil on wood, 30 × 25 cm. Presented by Madragoa. Under $10k 

Rodrigo Hernández draws from literature, myth and the natural world in his intimate yet commanding paintings, sculptures and architectural installations. These arresting paintings of bats are part of a series devoted to the rigorous study of the creature, which the artist sees ‘as a powerful metaphor for survival in conditions of abjection and isolation’.

Pamela Phatsimo Sunstrum, Scene 5, 2024 

Oil and pencil on three wood panels, 100 × 210 cm. Edition unique. Presented by Goodman Gallery. $50k – $100k

Pamela Phatsimo Sunstrum’s captivating three-panel painting Scene 5 (2024) is from a recent body of work inspired by film noir, theatrical set design and crime novels. This series was recently included in a major commission for the Curve Gallery at the Barbican Art Centre in London, and represents an exciting direction for the artist, whose practice reflects her experience living across Africa, Southeast Asia and North America. 

About Margot Norton 

Margot Norton is chief curator at the Berkeley Art Museum and Pacific Film Archive (BAMPFA), where she leads the curatorial team and oversees the exhibition programme. At BAMPFA, she curated solo exhibitions with Gabriel Chaile and Amol K. Patil as well as the BAMPFA presentation of ‘Making Their Mark: Works from the Shah Garg Collection’ (2024) and æTo Exalt the Ephemeral: The (Im)permanent Collection’ (until July 2025). Norton was previously Allen and Lola Goldring senior curator at the New Museum, New York, where she curated more than 40 exhibitions including solo shows with Carmen Argote, Diedrick Brackens, Benjamin de Burca, Lynn Hershman Leeson, Wangechi Mutu, Pepón Osorio, Mika Rottenberg and Bárbara Wagner, and the 2021 New Museum Triennial: ‘Soft Water Hard Stone’. In 2017, she curated the Sequences Real Time Art Festival in Reykjavik, Iceland, and the Georgian Pavilion at the 2019 Venice Biennale with artist Anna K.E..

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^{Main image: Pamela Phatsimo Sunstrum, Scene 5, 2024. Oil and pencil on three wood panels, 100 × 210 cm. Courtesy: Goodman Gallery}