Frieze Week New York 2024
May 2024

“I’m suspicious of things that make sense,” said the New York-based artist Pope.L, who passed away this year aged 68. I’ve often felt that performance art, in which Pope.L excelled, has a special ability to be ambivalent, avoiding a single meaning. A lot about the world today doesn’t seem to “make sense:” perhaps performance art has a particular role to play in it again. The program for Frieze New York 2024 has a special emphasis on performance, including a new, co-commissioned performance by Matty Davis on the High Line (p.16), a collaboration with Performance Space New York (p.20) and a concert by Ellen Fullman (p.13). Picking up on this theme, the issue explores the iconography of Alvin Ailey (p.52), how galleries are embracing live art (p.10) and Dodie Kazanjian’s work to put contemporary art and opera in dialogue (p.50). Tess Ayano’s story on rising performance stars produced the portrait of Cole Escola on our cover. It reminds me a little of Peter Hujar’s images of Ethyl Eichelberger: both, like Pope.L, lost too young. Perhaps another thing performance art can do right now is remind us to cherish the living.

- Matthew McLean, Creative Director, Frieze Studios & Editor, Frieze Week

From this issue

Surface and the unsaid in Carl Van Vechten’s 1955 portrait of the trailblazing dancer and choreographer

BY Jimmy Robert |

Founding director and curator Dodie Kazanjian talks about her initiative, launched in 2006, to bring contemporary art to the Metropolitan Opera

BY Kat Herriman AND Dodie Kazanjian |

Performance Space’s director Pati Hertling and artistic director Taja Cheek explain how the venue is getting bigger by getting smaller

In this special commission for Frieze Week New York 2024, photographer and director Tess Ayano shoots five outstanding New York performers

BY Tess Ayano |

The initiative has enlisted artists including Derrick Adams, Wangechi Mutu, Calida Rawles, Laurie Simmons and Hank Willis Thomas to get its message across

BY Thara Parambi |

Though it left the Lower East Side half a century ago, the Bread and Puppet Theater’s participatory anti-war morality plays continue a New York history of performance and protest

BY Hussein A.H. Omar |

Frieze Week New York 2024 offers a rare chance to see Ellen Fullman’s epic room-filling musical installation in action

The choreographer’s centenary season features a focus on her many collaborations with the iconic Japanese-American polymath 

BY Marina Harss |

The founders of The Here and There Collective tell Focus curator Lumi Tan about supporting contemporary Asian diaspora art and their sense of “peership” with artists

BY Lumi Tan |

Marina Abramović’s face lotion is the latest development in the history of performance art’s engagement with the beauty industry

BY Matthew McLean |

Newly joined from the Boston Ballet, CEO Max Hodges shares what’s to come at the institution: from site-specific spectacles to a new staging of King Lear

BY Susan Yung AND Max Hodges |

Die No Die is a new work co-commissioned by Frieze and the High Line in which Matty Davis explores the huge geological forces that compress our selves. Photography by Christian Werner

BY Jesse Zaritt |

Unmissable shows in New York this May include “The Harlem Renaissance and Transatlantic Modernism,” The Whitney Biennial, and surveys of Marian Zazeela, Terry Fox and Joan Jonas

BY Chris Waywell |