The Armory Show 2025 wrapped up on September 7th with robust sales figures and a notably younger demographic of attendees, signaling renewed optimism in the art market. The fair, held at New York's Javits Center from September 4-7, attracted approximately 50,000 visitors and featured more than 230 exhibitors from 35 countries. This marked the second edition under full ownership by art fair conglomerate Frieze and the 31st overall iteration of the prestigious event.
The atmosphere throughout the fair was described as particularly energetic, driven by bold curatorial choices and strong presentations in the fair's "Presents" section, which focuses on solo or dual artist exhibitions from emerging galleries. Kyla McMillan, director of The Armory Show, noted during the VIP preview day that "a really good indicator of the general optimism in the air is the strength of the presentations that exhibitors have brought to the fair this year."
A significant demographic shift was observed among attendees, with dealers reporting a markedly younger crowd compared to previous years. Anne-Claudie Coric, executive director at Templon gallery, commented on this trend: "This year we witnessed a vibrant shift, with many New Yorkers, younger generations, curators, and engaged voices gathering in great numbers. In such uncertain times, it is deeply invigorating to see that the appetite for art, and the integrity of artistic creation, remain wholly alive."
The fair welcomed 55 debuting galleries, including London's Saatchi Yates, Portland-founded ILY2, and nomadic gallery Superposition. Additionally, approximately 20 galleries returned after extended hiatuses, including heavyweight names such as Esther Schipper, Tanya Bonakdar, and White Cube. Courtney Willis Blair, managing director of White Cube U.S., expressed particular satisfaction with their return after more than 30 years, stating that "returning to The Armory Show for the first time in more than 30 years was incredibly meaningful. Alongside strong sales, we were especially encouraged by the many thoughtful conversations we had with curators, museum leaders, and collectors alike."
Sales momentum was particularly strong from the opening VIP day, with dealers reporting especially brisk interest in works at lower price points. Several galleries achieved complete sell-outs, including South Africa's WHATIFTHEWORLD and Montreal's Pangée. The most accessible price ranges saw immediate success, with Megan Mulrooney's booth featuring works by Piper Bangs selling out within the first few hours of the VIP preview, with prices ranging from $5,000 to $20,000 per piece.
For higher-priced artworks, sales proceeded at a more measured pace but still showed strong performance. The highest reported individual transactions were two Fritz Scholder paintings sold by CasterlineGoodman Gallery for $375,000 each. Galleria Lorcan O'Neill reported selling a work for $1 million, though they declined to specify the piece or artist.
Several galleries achieved complete booth sell-outs across various price ranges. Wolfgang Gallery sold their entire presentation of paintings by Aineki Traverso, with works priced between $1,500 and $12,000. WHATIFTHEWORLD's solo presentation of Mia Chaplin works, ranging from $5,000 to $50,000, sold completely, while Pangée's booth featuring paintings by Élise Lafontaine, priced between $3,800 and $13,000, also achieved a full sell-out.
Major galleries reported significant six-figure sales across diverse artists and mediums. Sean Kelly Gallery led their sales with a Kehinde Wiley painting for $265,000, complemented by a José Dávila sculpture for $90,000 and multiple Hugo McCloud works at $35,000 each. White Cube's solo presentation of TARWUK works performed exceptionally well, with paintings selling between $65,000 and $100,000, alongside additional sales including a Tunji Adeniyi-Jones painting for $85,000 and an Emmi Whitehorse mixed-media work for $150,000.
Miles McEnery Gallery demonstrated strong performance across their roster, selling a Beverly Fishman painting in the $125,000-$150,000 range and a Karel Funk painting between $70,000-$90,000. Their sales extended to multiple price points, including Jacob Hashimoto works ($70,000-$90,000), Patrick Wilson paintings ($40,000-$50,000 each), and pieces by Raffi Kalenderian, Alexander Ross, and Whitney Bedford in various ranges.
International galleries showed particularly strong results, with Marc Straus selling three Antonio Santín paintings ranging from $30,000 to over $500,000 each. Templon sold an Omar Ba work for $180,000 and multiple Kehinde Wiley miniature paintings for $125,000 each. Tang Contemporary Art achieved notable sales including an Ai Weiwei sculpture in the $150,000-$180,000 range.
Emerging and mid-career artists found significant success across multiple galleries. Saatchi Yates, making their Armory Show debut, sold multiple works from their solo presentation of Tesfaye Urgessa, with prices ranging from $135,000 to $200,000 per piece. The gallery's presentation was selected as one of the fair's standout booths. Contemporary HEIS sold a Mokuma Kikuhata painting in the $100,000-$200,000 range, while Baró Galeria achieved a €100,000 ($117,310) sale for a Joana Vasconcelos work.
The fair's international scope was reflected in diverse sales across continents. Alisan Fine Arts sold works by Asian artists including pieces by Chinyee ($35,000-$40,000) and Fong Chung-Ray ($40,000-$45,000). Southern Guild focused on African artists, selling Roméo Mivekanni paintings for $40,000-$60,000 each and works by Mmangaliso Nzuza, Madoda Fani, and other contemporary African artists across various price points.
Print and works on paper showed strong performance, with Cristea Roberts Gallery selling multiple sets of Julian Opie's new lenticular series at $60,000 each and Jim Dine works for $50,000. They also moved complete portfolios of Yinka Shonibare collaged woodcuts at $25,000 each, alongside works by established artists including Paula Rego, Vija Celmins, and Sol LeWitt.
Emerging artists and galleries demonstrated the market's appetite for new voices, with several booths selected among the fair's best achieving strong sales. K Contemporary sold 13 pieces by Elizabeth Alexander for $25,000-$30,000 each, while Patel Brown sold six works from their Alexa Kumiko Hatanaka presentation ranging from $5,800 to $15,500. Swivel Gallery moved six Alejandro García Contreras works between $11,000-$20,000 each.
The fair's success extended to galleries presenting artists at more accessible price points, demonstrating market depth across economic levels. Spinello Projects reported strong opening-day sales for their Marlon Portales presentation, with works priced from $2,800 to $30,000. Multiple galleries including Richard Beavers Gallery, Vielmetter Los Angeles, and EDJI Gallery reported selling substantial portions or entireties of their presentations across diverse price ranges from $3,000 to $68,000.
The overall success of The Armory Show 2025 suggests renewed confidence in the art market despite broader economic uncertainties, with strong performance across all price segments and a diverse range of artistic practices finding commercial success.
