The Armory Show 2025 :
Between American Heritage and Renewed Curatorial Vision
© Carlos Maldonado – ArtPremium
A Reimagined Artistic Geography
McMillan’s choice to place a non-profit organization, Souls Grown Deep, at the heart of the Platform section for the first time sends a strong signal. This decision transcends simple programmatic diversification: it interrogates the traditional power dynamics of the contemporary art market. By entrusting the curation to Raina Lampkins-Fielder, a recognized specialist in African American artists from the South, the fair assumes a position that is as much political as it is aesthetic.
The Focus section, assigned to Jessica Bell Brown and dedicated to artists from the American South, follows this same logic of geographical and cultural rebalancing. This attention to emerging scenes and lesser-publicized artistic territories reveals a desire to move beyond the usual New York-Los Angeles-Miami circuits.
© Casey Kalbaugh and The Armory Show
The Challenge of Curatorial Coherence
The creation of the Function section, under Ebony L. Haynes’ direction, which examines the relationships between art and design, raises questions however. In a context where disciplinary boundaries are blurring, might this thematic segmentation risk creating artificial compartmentalization? The success of this initiative will largely depend on its ability to generate dialogue with other sections rather than function in isolation.
The integration of solo presentations within the general floor plan, rather than grouping them in a dedicated space, demonstrates thoughtful consideration of visitor flows and artwork discovery. This approach could foster unexpected encounters, an essential condition for any meaningful artistic experience.
An International Ecosystem Under Tension
With more than 230 galleries from 35 countries, The Armory Show 2025 confirms its status as a global platform. Nevertheless, the enumeration of participating cities reveals persistent imbalances in the international market: while American representation remains logically strong, Africa and Latin America remain underrepresented despite notable presences from Lagos, Lima, or Bogotá.
The return of prestigious galleries like White Cube or Skarstedt after a period of absence underlines the legitimacy stakes this fair still represents for major market players. Simultaneously, the arrival of 55 new exhibitors demonstrates necessary renewal within the gallery ecosystem.
The Frieze Legacy in Question
Since its acquisition by Frieze in 2023, The Armory Show navigates between preserving its American identity and integrating into an international network. Kristell Chadé’s statements about the fair’s “distinctly American identity” reveal this tension. How does one maintain local specificity while fitting into a global brand logic?
McMillan’s appointment, drawing from her curatorial experience, suggests a willingness to prioritize programmatic excellence over pure commercial logic. It remains to be seen whether this approach will withstand the economic imperatives inherent in any art fair.
Roméo Mivekannin – Lady Agnew of Lochnaw after Sargent – 2025 – Acrylic on black velvet – 80.7 x 56.3 in. © Courtesy Carlos Maldonado for ArtPremium
Khalif Tahir Thompson – It Don’t Mean a Thing – 2025 – Oil, acrylic, handmade paper,
papyrus, fabric on canvas 198 x 167 cm © Courtesy Zidoun-Bossuyt Gallery
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Toward a Model Redefinition?
The awarding of the Gramercy International Prize to Silke Lindner and the Armory Spotlight to Storefront for Art and Architecture illustrates a desire to support the New York artistic ecosystem beyond simple commercial transaction. These initiatives, while modest, participate in broader reflection on the social role of art fairs.
The Curatorial Leadership Summit, directed by Eric Crosby, directly addresses questions of “curatorial commitment” in the current context. This parallel programming could contribute to elevating the level of critical reflection around the event.
A Wager on the Future
The Armory Show 2025 presents itself as an experimentation laboratory for the future of art fairs. By attempting to reconcile curatorial rigor, geographical diversity, and economic viability, McMillan and her team take calculated risks.
The success of this edition will be measured as much by the quality of presented works as by its capacity to generate new collaboration models between institutions, galleries, and collectors. In a mutating art market, The Armory Show might well sketch the contours of a new paradigm.
What if the World – Courtesy The Armory Show