"Cherubini, who has her first solo show coming up at the gallery next month, is known for subverting the inherent classism of decorative forms-in this case, a baroque pitcher. Her philosophical approach is similar to that of Molly Hatch, whose wall installation of 288 ceramic plates at Todd Merrill's booth transforms the ornamentation of 19th century British designer Christopher Dresser."
"For overseas dealers, President Trump's tariffs have increased the cost of exhibiting in the U.S.-for example, there's now a 50 percent tariff on products containing steel and aluminum-and for collectors, many are choosing the more novel Paris edition in October over Miami. The result is that 15 previous exhibitors did not return this year, leaving room for younger, emerging talent."
"Altogether, there were eight more booths than last year's fair (not counting the preponderance of commercial booths by the likes of Kohler, Fendi and Perrier-Jouët, which one attendee dubbed "Rodeo Drive"). But, within that, there were five fewer large gallery booths and 13 more "Curio" presentations and "Special Projects." As advisor Simon Andrews summed up, "There were a lot of interesting people bringing interesting ideas.""
Nicole Cherubini presented monumental ceramic work that subverts classist decorative forms, exemplified by a baroque pitcher, while Molly Hatch transformed 19th-century ornamentation with a 288-plate installation. Curatorial theme "Make.Believe" emphasized craft and conviction. Presidential tariffs, including a 50 percent charge on steel and aluminum products, raised costs for overseas dealers and prompted some collectors to favor a new Paris edition over Miami. Fifteen former exhibitors did not return, creating space for younger talent. The fair added eight booths overall but had five fewer large gallery booths and increased "Curio" presentations and "Special Projects," resulting in a lively, organic-materials-oriented show.
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