Frieze Seoul

Sep 2 – Sep 5, 2022
Art Fair Details:

Frieze Seoul
Booth A15
Sep 2 – 5, 2022

Online Presentation:

Agnes Martin
Aug 26 – Sep 6, 2022


Press Release


Frieze Seoul

Above: Huong Dodinh, J 6, 1996, canvas mounted on wood panel © Huong Dodinh

Pace is pleased to detail its presentation for the inaugural edition of Frieze Seoul.

The gallery’s booth will feature a focused selection of works, grounded in abstraction, by a group of artists within and beyond Pace’s roster. Spotlighting Pace’s strong contemporary program, the gallery’s Frieze Seoul booth traces exchanges among intergenerational abstractionists. Pace will also unveil a new expansion of its arts complex in Seoul during the fair.

Pace’s Frieze Seoul presentation will feature works by Huong Dodinh, Virginia Jaramillo, and Maysha Mohamedi, all of whom joined Pace’s program in 2022. Frieze Seoul marks Jaramillo’s debut showing with Pace, and the artist will have her first solo exhibition with the gallery in Los Angeles in 2023. Booth highlights also include new paintings by Torkwase Dyson and Adam Pendleton; a new sculpture by Lynda Benglis; two recent sculptures by Kiki Smith; and works by Louise Nevelson, Gerhard Richter, Prabhavathi Meppayil, Marina Perez Simão, Mika Tajima, and others. Concurrent with Frieze Seoul, Benglis is presenting a major exhibition at the Nasher Sculpture Center in Dallas, Texas; Pendleton’s largest museum show in Europe to date is on view at Mumok in Vienna; and Tajima’s solo exhibition at the Dazaifu Tenmangu Museum and Shrine Grounds in Japan continues through October 10.

A six-by-six-foot painting by Agnes Martin, a key figure in the gallery’s history and legacy, will be the cornerstone of the presentation. Reflecting Pace’s roots in Minimalism, this striking late-career work, Untitled #2 (1992), can be understood as part of Martin’s pursuit to deepen her understanding of painting’s essence by way of radiant, meditative abstraction—Martin’s works of this caliber and type are rarely made available. With multicolor stripes that appear to float on its canvas, the painting reflects the artist’s interest in unearthing new possibilities of perception and experience, toward a purity of expression, through her medium. Martin’s creation of Untitled #2 was followed by a return to exuberant color that would mark her work from 1994 until her death in 2004.

On the occasion of the fair, Pace will open an outdoor sculpture courtyard and Osulloc Tea House—where a rotating display of prints, editions, and titles from Pace Publishing, the gallery’s imprint, will be on view and available for purchase—at its gallery complex in Seoul. This latest expansion of Pace’s Seoul gallery, where a new ground floor exhibition space specially equipped for immersive, experiential artworks opened in March 2022, builds on its strong presence in the Korean capital since 2017, when it became one of the first international galleries to establish a permanent space in the city. Solo exhibitions by Adrian Ghenie and the collective teamLab will be presented at Pace’s Seoul gallery during the run of Frieze Seoul. NFT projects from Pace Verso, the gallery’s web3 arm, will also be on view at the gallery.


Featured Works

Huong Dodinh, J 6, 1996, Canvas mounted on wood panel, 145 cm × 122 cm (57-1/16" × 48-1/16")
Agnes Martin, Untitled #2, 1992, acrylic and graphite on linen, 72 x 72" (182.9 x 182.9 cm)
Lynda Benglis, B-Witched, 2022, Everdur bronze (golden), 35" × 21-1/4" × 17-1/2" (88.9 cm × 54 cm × 44.5 cm), estimated dimensions
Maysha Mohamedi, Maman's Vein, 2022, oil on canvas, 63" × 51" (160 cm × 129.5 cm)
Adam Pendleton, Untitled (WE ARE NOT), 2022, silkscreen ink on canvas, 96" × 120" (243.8 cm × 304.8 cm)