Elsewhere, an anonymous gallery presented an impressive revival of Elliot Reed’s installation Pace, which features three Ducati motorcycles alongside stage lights and speakers, as well as a separate video artwork and knife-encrusted wall. By the close of the fair, two editions of the video work had sold for $4,500 each, and the installation had been placed on hold for a public collection. “I’m extremely proud of our ambitious presentation and quite pleased with the interest from collectors,” said director KO Nnamdie. “We hoped the business reaction would more immediately reflect Reed’s institutional interest, despite the challenges some work presents.”
Painting and sculpture may have dominated much of the weekend, but new approaches and practices could still be found. At NADA, the kind of digital artwork that was so conspicuously absent from other fairs was on display in booths like the one at the Denny Dimin Gallery, which featured computers playing it is video game/video artwork Dungeon Fuzz looping alongside paintings of old-school arcade consoles by , as well as the booth at bitforms gallery of downtown digital art, which included software-driven animation Does the river flow both ways? by and James Schmitz.