Frieze New York

CRITICS & THE FAIRPOCALYPSE
by Pedro Vélez



Who will critique the critics? That is the question my pal and art editor of Chicago’s weekly newspaper New City, Jason Foumberg, is always asking. Well, let’s see. A week before Edvard Munch’s The Scream (1899) went up for sale at Sotheby’s and the Frieze Art Fair landed on Randall’s Island, critics in New York rolled up their sleeves, marinated their rhetorical sausages in hate sauce, and yapped away apocalyptic predictions of what could happen if the art world proletariat allowed the unrelenting art market to get away with the banal commercialization of art, as if that were something new.

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