Frieze LA’s Christine Messineo is looking at the bigger picture

The art crowd heads to the US West Coast this week for Frieze Los Angeles (Frieze LA). Since 2019 the fair has been a platform for local galleries as well as a sunny meeting point for international players and collectors, particularly from across the Americas. This edition of the fair kicks off with previews today on Thursday 26 February and runs until Sunday 1 March. Here the director of Americas for Frieze, Christine Messineo, shares the gallery presentations that you can’t afford to miss, how the art market is faring and where to end up for dinner after a day at Frieze LA.  

What’s new at Frieze this year?
At the entrance of the fair you’ll see Patrick Martinez’s debut, a powerful neon installation addressing political realities and immigrant rights. It’s a resonant work that extends across the city on billboards and digital screens, connecting the fair to the life of Los Angeles itself. 

For the first time in LA we’re also introducing the Frieze Library. This permanent, publicly accessible collection of artist publications marks the reopening of the Pacific Palisades Library following the January 2025 wildfires. This resource preserves the present moment through the lens of the arts community. It’s sure to have a lasting impact.

Which booths are a must-visit for those coming to the fair?
While it’s difficult to narrow down a must-visit, a few standouts include: Betye Saar’s centennial at Roberts Projects offers a powerful reflection on Black identity and political art; Sprüth Magers revisits the enduring influence of John Baldessari; and 303 Gallery presents Alicja Kwade’s investigations into time, value and circulation.

Meanwhile, 86-year-old Yvonne Wells shows figurative quilts referencing Southern identity and iconic figures at Fort Gansevoort. Ortuzar features Linda Stark’s alchemical, feminist paintings and Parker Gallery showcases Marley Freeman’s gestural, textile-inspired canvases.

How is the US market faring so far in 2026? What are you expecting from sales this year?
I’d say there’s been a renewed sense of confidence in the market. In LA in particular we’re seeing new collectors engage – asking questions, spending time with galleries, getting involved. Although last year a more cautious approach was widely reported, all our fairs exceeded expectations, and we are seeing galleries find creative ways to navigate the prevailing conditions.

In LA, for example, galleries such as Château Shatto, Parker, Sebastian Gladstone and Sea View are all growing – or have grown – locally, and the new bicoastal gallery Hoffman Donahue is showing how collaboration can make things more sustainable by marking a new chapter. Emerging galleries are stepping up too, bringing fresh energy, prioritising artist relationships and building community, all of which shows how strong and connected LA’s creative scene is.

The 2025 event arrived at the same time as the devastating fires. How has the art scene fared over the past year? Has the city bounced back?
What continues to define Los Angeles is its vibrant, interconnected community of artists, galleries, curators, institutions and collectors – all showing up for one another. Last year was a testament to this resilience and many are still rebuilding. Through the dedication and support of both local and global audiences, the community has demonstrated remarkable strength. That spirit of care, collaboration and engagement continues to shape LA, reinforcing the transformative role that art and its makers play in our city today.

Where do you recommend for dinner at the end of the day? 
Near the fair, I’d recommend the izakaya RVR for a special occasion, Coucou in Venice for a French bistro atmosphere and The Mulberry Los Angeles on Sawtelle for dinner followed by a lively night out.