Ruling over the hypermarket of contemporary art, Frieze Art Fair came back to London Regents Park for its 13th edition. Once again Britain’s biggest art fair gathered together trophy art collectors, curators, investors, jetsetters, art enthusiasts and tourists from all over the world, offering one of the widest and most intense art-themed experiences available nowadays. Squashed into a giant tent loaded with priceless masterpieces and all sort of collectible wanders, more than 160 international galleries presented specially commissioned art works and curated exhibitions. In the mass of aisles and booths, Le Paradox selected a series of galleries and standout pieces according to its subjective taste.

At Sprüth Magers, Jenny Holzer lighted up the atmosphere with one of her LED-based installations, casting flickering subliminal messages over the surrounding walls, while the paintings and sculptures of Thomas Scheibitz challenged the viewers’ interpretation by showcasing bites of reality broken down to compartmentalized units of color. Mary Weatherford brought the recurring use of neon to another level through her latest series of paintings that incorporate neon fixtures on show at David Kordansky Gallery. Among this year’s proliferation of text-based works, Lawrence Weiner‘s conceptual sentences left a meaningful mark, echoing throughout the fair from Mai 36 Galerie to Lisson Gallery. The present felt like the past at Sadie Coles, where yellow walls and genital-inspired sculptures by Sarah Lucas recalled the artist’s subversive exhibition at the British Pavilion at the 56th Venice Biennale. Provocative poses and artful erotica aren’t anything new at the ever-progressive Frieze London, yet Camille Hernot‘s irreverent watercolors presented by Kamel Mennour were exquisitely surprising, and gave an intriguing insight on intimacy in the digital age. At Massimo de Carlo, the soft fleshy tones of Carsten Höller‘s giant wall painting with Aphid as well as Kaari Upson‘s voluptuous lips gave a surrealistic twist to the sensual theme. Marian Goodman Gallery kept a minimalistic approach showcasing a subtle yet powerful installation of new works by Anri Sala, Ettore Spalletti and sculptures from Adrián Villar Rojas’s “Fantasma”. Goodman Gallery, Kurimanzutto and Perrotin held visitors in their gaze, presenting suggestive pieces by Haroon Gunn Salie, Abraham Cruzvillegas and Daniel Arsham. Last but not least, the Brazilian artist Alexandre da Cunha added to the fair’s multi-sensorial experience a unique touch and feel element, imbued into its tension-based string pieces that implemented traditional knitting and woven methods, creatively subverted almost beyond recognition.