
"For years, the narrative of Abu Dhabi's cultural rise has been dominated by institution-building, primarily on Saadiyat Island: Louvre Abu Dhabi opened there in 2017, the Natural History Museum followed this year, with the Zayed National Museum soon to come and Guggenheim Abu Dhabi scheduled for 2026. These projects symbolized the city's identity as a government-led museum capital, impressive in scale yet often perceived as detached from the day-to-day life of artists and galleries. That framing is now shifting."
"Last week, ADA opened at Manarat Al Saadiyat, an arts center on the island, for its final edition before it transitions to become a franchise of Frieze next November. The fair's evolution, for some, will appear cyclical: after all, it launched in 2007 as ArtParis Abu Dhabi. But even before Frieze announced the new partnership, ADA had expanded, with 53 new galleries joining this year's fair. Still, Frieze's involvement is an unmistakable acknowledgment that the emirate is becoming a more active player in the art market."
"ADA has been intentionally recalibrating its mix of exhibitors, trying to bridge long-standing gaps between blue-chip collectors and emerging ones. A new Focus sector puts the spotlight on specific art scenes in the Global South-this year, Nigeria, Turkey, and South Asia. And a new Emerge section provides preferential booth prices for galleries exhibiting works priced under $3,000, in the hopes of cultivating new collectors."
Abu Dhabi built a cultural identity around major museums on Saadiyat Island, including Louvre Abu Dhabi and the Natural History Museum, with further high-profile projects planned. The city is now attracting new collectors as it grows into a global financial hub. ADA (Abu Dhabi Art) recently held a final standalone edition at Manarat Al Saadiyat before transitioning into a Frieze franchise, and the fair added dozens of new galleries this year. Organizers are recalibrating exhibitor mixes, creating a Focus sector for Global South scenes and an Emerge section offering lower-cost booths to cultivate new collectors.
Read at ARTnews.com
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