Future Art Fair Marks a New Phase of Maturity and Professional Growth
Inside the Future Fair: A Rising Player in New York’s Art Scene
As the global art market continues to reckon with economic ebbs, political shifts, and an evolving digital landscape, New York’s Future Fair has emerged as a bold and strategic player. What began in the uncertain shadow of the COVID-19 pandemic has now grown into a compelling platform for emerging galleries and artists alike. This year, the fair celebrated its fifth edition at the Chelsea Industrial space, boasting 69 domestic and international exhibitors and an ambitious vision aimed squarely at fostering equity, diversity, and artistic innovation.
A New Model for a New Market
Launched in 2020 by Rebeca Laliberte and Rachel Mijares Fick, Future Fair set itself apart by decentralizing its structure. Originally, 35% of the profits were distributed among its founding galleries — a cooperative model nearly unheard of in the realm of commercial art fairs. However, starting in 2024, the fair has shifted to the “Pay-It-Forward” model, designating 15% of its profits to fund grants for emerging art dealers. While details around grant criteria remain scarce, the initiative aims to further democratize access to the global art ecosystem.
“This fair is very unique,” said Akinori “Aki” Okada, CEO of GOCA by Garde, a newly launched contemporary Japanese art space in Chelsea. Okada and others cite the fair’s inclusive ethos and transparent values as primary draws — strong selling points as more galleries reconsider where to invest in an increasingly saturated art fair circuit.
Small Scale, Big Impact
Unlike monolithic events such as Art Basel or Frieze, Future Fair’s limited physical footprint works to its advantage. The more intimate setup allows for direct dialogue between artists, dealers, and collectors. New participants like Patricia Trafton, owner of Soapbox Arts in Burlington, Vermont, see Future as a gateway to a larger art market that can often feel inaccessible to regional galleries.
“I opened the gallery in 2019, so it took several years for me to access a broader platform,” Trafton explained. On display at her booth were hand-etched encaustic panels by Athena Petra Tasiopoulos, gesture-laden monotypes by Krista Mezzadri, and sacred geometry-inspired works by Katrine Hildebrandt-Hussey — a collection that aligned well with the fair’s curated aesthetic.
Voices from the Original Cohort
Few of the original participants from 2020 returned in 2024, making the presence of Elijah Wheat Showroom all the more notable. The Newburgh-based gallery showcased work by Chicago Imagist Julia Schmitt Healy and egg tempera painter E.E. Kono. Gallery co-founder Carolina Wheat-Nielsen emphasized that Future’s ownership model and commitment to minoritized communities were decisive factors in their ongoing participation.
“Subsidies and other gifts helped first-time dealers present work at lower price-points, changing who could get off the bench and into the game,” said Wheat-Nielsen. “It didn’t just open doors — it challenged who has access to those doors in the first place.”
A Curatorial Edge
This year’s curatorial team — Eden Deering (PPOW), Margarita Rosa (independent curator and historian), and Jenée-Daria Strand (Public Art Fund) — demonstrated a sharp eye for innovative work. The installations were diverse in media, origin, and messaging, ranging from poetic ceramic “postcards” by Raina Lee inspired by Spain at LaiSun Keane Gallery to the visceral and translucent oil compositions of Sarah Cohen at Hyacinth Gallery.
LaiSun Keane, who opened her eponymous Boston gallery in the thick of the pandemic, remarked the fair felt like a “direct competitor” to NADA — praising Future for less “elitist” exclusivity and a sharper representational focus.
Global Reach, Local Voices
The fair also made strides in showcasing international influences. Montréal-based Galerie C.O.A. presented Alexandra Levasseur’s emotionally dense narratives rendered in gouache, oil, and enameled stoneware. Meanwhile, Sabroso Projects brought rich Puerto Rican visual language to the booth through the lush paintings of Larissa De Jesus Negrón.
As for GOCA by Garde, their pairing of Aya Kawato’s optical illusions with Yuta Okuda’s vibrant abstractions offered U.S. audiences fresh insight into contemporary Japanese art — a testament to Future’s cross-cultural curation.
Looking Forward
In a climate where many art fairs emphasize celebrity collectors and high-ticket artworks, Future Fair’s vision is refreshingly grounded in community, experimentation, and sustainability. Its cooperative beginnings, transition to socially-minded funding strategies, and commitment to a robust curatorial program signal that this fair is more than a passing trend. It acts as a progressive blueprint for how art fairs can evolve to better serve both artists and audiences.
As galleries large and small continue to navigate uncertain times, Future