London Art Fair 2025 in Review

A cornerstone of the 2025 London Art Fair is its commitment to amplifying international perspectives and fostering a truly global dialogue within the art world. This emphasis on diversity is most vividly realised in the Encounters section, curated by Pryle Behrman, which brings together experimental and large-scale works that address some of the most pressing issues of our time, including climate change, migration, and the fragility of cultural identities in an interconnected world. By juxtaposing established names with rising talents, the section creates a space where disparate voices can resonate in harmony, illustrating art’s capacity to transcend borders and articulate shared human experiences.

The international scope of the fair extends beyond thematic exhibitions. Works by diaspora and self-taught artists contribute an often underrepresented perspective, adding nuance to the fair’s narrative. The global orientation of the fair underscores its role as a platform for dialogue and innovation, uniting artists and galleries from across continents. This convergence of artists such as Aldo Salucci, Mustafa Karyağdı and Zbynek Sedlecky invites viewers to consider how art functions as both a universal language and a unique reflection of local traditions, cultural memories, and societal shifts. By spotlighting works that navigate the intersections of personal and collective identity, the fair reaffirmed its dedication to fostering an art market that values inclusivity and innovation, celebrating diversity not as a token gesture but as an essential component of its mission.

Prints & Editions

A notable highlight from the 2025 fair was the Prints & Editions section, which was introduced in 2024 and is now firmly cemented as a key feature of the fair. This section continues to celebrate the accessibility of printmaking, providing an enticing entry point for first-time collectors while reaffirming the medium’s significance within the art market. Independent gallery Moniker Projects shines brightly with an eclectic collection that includes Bridget Riley’s mesmerising Large Fragment 2, as well as works by contemporary luminaries such as KAWS, Damien Hirst, and Tracey Emin. These pieces underscore the enduring appeal of prints in bridging tradition and modernity, with the London Art Collective adding depth to the section by featuring Guoyi Liu’s evocative prints that weave themes of identity and transformation into intricate visual narratives.

David Hockney Potted Daffodils (1980)

In comparison to the surprisingly small scale of Hockney's Pool made with Paper and Blue Ink for Book (1980), the commanding scale of Potted Daffodils is a radiant example of the artist’s mastery of printmaking. Positioned on the ground floor and occupying its own wall, this lithograph captures the delicate beauty of a simple floral arrangement, whilst exuding a boldness that feels quintessentially Hockney. Surrounded by the works of Paul Nash, Donalde Locke and Picasso, Potted Daffodils serves as a reminder of Hockney’s enduring influence on both the fine art and printmaking worlds.

Ralph Fleck Stadion 17/VIII (2022)

Confronting you almost immediately as you enter the first floor, Fleck’s Stadion 17/VIIIis captivating with its dynamic fusion of texture, form, and colour. The playful, thickly applied brushstrokes blur the boundaries between abstraction and realism and create a sculptural, almost tactile quality. The vibrant palette imbues the work with an energy that feels spontaneous and meticulously considered, reflecting Fleck’s exploration of how human order and natural chaos converge through artistic expression.

The Platform section of the fair, curated by Becca Pelly-Fry, is a manifestation of the fair’s ongoing commitment to innovation and social consciousness. Titled “Today for You, Tomorrow for Me”, this section places a spotlight on ecological themes, engaging with the environment and humanity’s relationship with nature. Drawing its inspiration from the philosophy of the Q’ero people of Peru, a remote Indigenous group whose understanding of reciprocity and sustainability has been honed over millennia, Platform creates a dialogue that is as meaningful as it is visually striking.

Some of the most compelling works displayed in Platform include Jana Emburey’s All Is One (2024) - a delicate sculpture consisting of a stack of broken egg shells - and Grace Lee’s Click and Drag (2023). Artists within this segment used an array of media, including sustainable materials, recycled objects, and organic processes, highlighting how artistic practice can both question and offer solutions to the pressing ecological crises at hand. These works are calls to action, a testament to the power of art to engage, inspire, and mobilise collective efforts toward a more sustainable future.