I bypassed Los Angeles-Gisters Frieze’s VIP opening and instead on the way to two of the alternative art fairs of the city: the post-fair and the other art fair. As the name of the first one suggests, the new child on the honest block is going to the exclusivity and privatization of typical art fairs by offering cheap access while he hosts his 29 galleries and project spaces in the recycled post office in Santa Monica in the post office In Santa Monica. Later in the day the other art fair was opened for his 13th edition in Los Angeles and presented work of 140 independent artists who were central and involved in visitors who could buy pieces directly. Refreshing drove the only one to find white cubes in traditional cocktails.
At Post-Fair, galleries occupy walls along the caverneous wooden corridors of the room. On the PPOW stand -completed artist Harry Gould Harvey IV can be seen the journey of a hero with four new large -scale works. Harvey transforms simple materials – matte board and found wood from abandoned mansions – into ritual objects that are meant to translate esoteric spiritual literature into sources of personal reflection. I was mainly attracted to “fools hurry where angels afraid of his” (2025), which Harvey explained, has a direct bond with Los Angeles. On the right-hand side of the work he recorded an Xerox transfer of the “Untitled” (ca. 1967) by the deceased artist Wallace Berman, a schedule of photos of a hand with a transistor radio set up with symbolic mass media images. Harvey’s tribute to the crucial west coast artist takes the form of a tombstone intended to penetrate the work with his positive spirit.
Visitors circled the three -dimensional hanging works by Dylan Spaysky at the presentation of Good Weather Gallery and admired their multiple layers of framed mirrors with background lighting through night lights with exposed extension cords. Spaysky gets inspiration Cell -animationA technique that became popular by Walt Disney animators in the 1930s and a callback to the film history of Los Angeles. Each mirror is relief with overlapping characters or sets from these early films, which reconsider their contextual and literal construction. Take a good look at “1961 Mirror” (2025), and you could see Pongo and Perdita from the animation film One hundred and one Dalmatians – released in the titular year of the artwork.
In the meantime, the walls and adorning the floors in Harlesden High Street have Angela Anh Nguyen’s Gun-Tuftuft textile. The LA-based artist uses Tufting-Die she happened to learn via YouTube tutorials-to consider the reflexive character of American cultural wars by aggravating online media. “I have read a lot of theory lately” (2023), for example, amusing a figure with a fight on a fallen bookcase that is flooded in titles such as Das Kapital By Karl Marx, White vulnerability by Robin Dieangelo, and A book with common prayer By Joan Didion. While I hurled through the rest of the presentations, the atmosphere was cheerful and curious, helped by the long pieces of empty space that made the breathing space between art (and the visitors) possible.
After a rare traffic -free ride back from Santa Monica, I was preparing for the opening evening of the other art fair in Atwater Village. I had nice conversations with various artists at the buzzing stock exchange, including Eden Miller, who debuted paintings of Liminal, dreamy scenes with Seraphim who took the form of blue-tinted pelicans and winged fish. In the hall I came to Jess Lin’s work against exploring her Taiwanese-American identity as an expat that grew up abroad. Her newer paintings, including “Marina Martinis” and “Taroko Bao” (both 2024), combine unexpected children’s food with Singaporesis and Taiwanese cityscapes to create surrealistic but wonderful compositions.
In addition to the artists’ artists, the front room contained a show with two people: In the land of gods and monstersCompiled by the Thomas Martinez Pilnik and Jake Cavallo by Feia Studio, who recently raised money for artists affected by the forest fires in January. Anna Marie Tendler, author of Men called her crazy (2024), also held pop-up portrait photography sessions, while the local artist Judy Baca made a mural debuted entitled “The Great Wall of Los Angeles” (2025) and artist Stvndid’s “The Play Pen” encouraged visitors to paint in an interactive room.
Both the other art fair and the Post-Fair are invoiced as “alternative” shows one other option, perhaps less Stodgy, outside the blue chip circuit. However, how you choose to label them, but these fairs shared an atmosphere of lively jubilation while members of the community came together to support the real stars of the show: artists.
