Adapting to the New Art Market: How to Prosper in 2017


Adapting to the New Art Market: How to Prosper in 2017


With the third edition of Superfine! now in the rear view, we've been taking time to reflect on the perspective that we've gained over the past two years. Superfine! has always stood for a new and sustainable art market that opens up art collecting for newly minted aficionados while preserving a sophisticated, high-quality fair environment - one that appeals to even the most dyed-in-the-wool collector. There's a barely-tapped market of would-be collectors who generally hold professional jobs, own their own homes, and range from roughly 25 to 45 in age, and it's our primary job to build the bridge between appreciating art and collecting it for all of these new collectors. Our recent NYC fair was a perfect realization of that mission, where everyone from veteran collectors to members of our logistics and sound production team fell in love with artwork, and became Superfine! collectors.

As we've grown Superfine! we've always made sure that on the exhibitor end, we're a fair that's friendly to the goals of both professional, independent artists and passionate dealers/brick-and-mortar galleries looking to tap into an engaged and growing new collector base. With that in mind, we've assembled a few core observations and pointers geared towards even more successful presentations, both within and outside of Superfine! fairs. Feel free to adapt, adopt, and use any of these - we hope they're helpful and lead to strong sales and success at Superfine! and throughout the year!

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It's no secret that transparency is at the top of our list. Those newer to collecting may have the means and desire to purchase works of art, but are far from used to the conventional opacity of pricing instruments at more traditional galleries and fairs. Think about it: people are buying things left and right - from $15 craft cocktails to $40,000 cars - but seldom are they unaware of the pricing upfront. Opaque art world pricing is something that, put simply, does not translate to how most people purchase anything. Being forthright about your pricing both physically (at Superfine! we provide and mandate that artwork labels including price are used for every work in the fair) and in your conversations with prospective buyers can make a world of difference towards making them feel comfortable in taking a work home. Transparency in pricing leads to less discounts and a collector base that trusts you, versus a quick buck from a disloyal base.


When we were pondering different ways of organizing Superfine! as a fair, a very wise friend of ours once said to us (over a glass of red wine): "To the attendees, it's all art."

This stuck with us. Those newer to buying art aren't used to older conventions of the art world, like why a piece is a good investment (we always believe in buying work you love, not that you hope to sell at a profit) or the pedigree of the gallerist standing before them. An artist's qualifications or which museum shows they were in may not resonate with these younger would-be collectors. However, narrative selling goes a very long way. Individual artists, whether representing themselves or being represented by a gallery, being present in a fair booth or in a gallery setting holds weight with newer collectors who want to meet the mind behind the work. If the artist can't be there, letting your sales pitch touch more on the artist themselves and what the work means to them (versus the investment potential) can really hit home with a generation that's interested in stories and relating others' experiences to their own. Connection to the work is huge and these newer collectors want to to talk to you and learn about the art, so be forward and open with them. That personal touch goes a very long way!

SHARE, SHARE, SHARE (third time's the charm!)

Being active on social media and forward with information and imagery is not just a suggestion in 2017, it's a requirement.

The vast majority of people these days get their news through social media, and you want your work or the work you represent to be part of that web-based zeitgeist. The earlier in advance of a fair or exhibition you can get the organizers (hint: in this scenario, that's us!) information and visuals for the artists and work you plan to show, the better the chances that the work will be featured in social media and e-mail based lead-ups, included in press releases, and subsequently included in physical and online press itself. The effect is that the public (and ultimately, collectors) will be exposed to the work early and often. As any collector knows, it sometimes takes seeing a work a few times in different places to really get it into your mind to the point where you couldn't get it out if you tried, and HAVE to have that one particular piece. It all starts with being on top of gathering those images and information about artists and their work, and making sure that it gets out there into the world.


Superfine! unabashedly focuses on promoting an accessible and transparent art market, with price points friendly to newer collectors and a top end of $10,000 per work.  This is sometimes misconstrued as focusing on the very lowest end of the pricing + art world spectrum. This is absolutely untrue - what we're actually doing is using our guidelines to promote a sort of equalization and correction of the art market, focused on what's actually selling, and creating sustainability based around that. Most major outlets and experts now agree that the vast majority of the art market's growth is happening in the under $10,000 range, while the middle end of the market dwindles, and we think that it's very important to adapt to that. That doesn't mean cheapening the art collecting experience, but being conscious of the shifts in the market is very important. We've created more compact and affordable booths at Superfine! so that galleries can focus on building collectors at all levels, versus holding out for a few "big fish" that justify an astronomical booth fee. Experience has shown us that exhibitors do best when they showcase an array of works at different price points, with a couple at the top end of our range ($6,000-10,000) the bulk between $1,000 and $6,000, and a good assortment of high-quality, original work under $1,000 to help encourage younger collectors. Remember - each sale represents a new collector, not just a line on your balance sheet. 


Payment plans and installments are a reality of the new art market, so be ready for them. You can buy almost anything these days in installments, and art is no different. Rather than simply being open to the idea, be ready and proactive with how you encourage and handle collectors who may be more comfortable making a large purchase over time.

Do you allow them to take the work home, or do you hold it until they've paid in full? Be open and transparent about that so that everyone understands. Is a contract required? If so, have them available and mention the option. Remember, a sale is a sale and constant cash flow is a good thing. While it may feel good to walk away from a sale with a fat check or a wad of cash, working with collectors over time is actually a great way to develop a relationship and encourage future sales. They'll appreciate and respect that you've been helpful and understanding, and in the process you can use each point of contact as an opportunity to open their eyes to more of your or your artists' work. Artists and dealers may shy away from payments/installments because of the fear of having to become a debt collector, but as with anything proper planning and anticipation of the hurdles involved will help alleviate any concerns. If you REALLY don't want to get involved in collecting the money over time but still want to offer the option to collectors, check out companies like Art Money, based in Australia, that do it all for you.


Despite any beliefs that all anyone under fifty is looking for are fads (I'm looking at you, fidget spinners!) and trends, the younger and increasingly well-to-do market is actually looking to attach to consistent brands, places, and, in our case, artists and galleries. This is a generation who's been consistently exposed to art and culture as major cities increasingly bring their arts programs to the forefront of their marketing to residents and tourists alike, and mainstream pop culture becomes more and more indistinguishable from artists and their work (think Kanye West and Takashi Murakami.) As more and more 20-somethings, 30-somethings, and 40-somethings settle into houses and condos they've bought, they become what marketers call "nesters" and want to translate being surrounded by art in their lives to being surrounded by art in their homes. By doing so, they're less of "art tourists" looking to score a piece from a fair in a city they don't live in, and more of a potential long term relationship as they fill their homes and any subsequent second and third homes with art. If you treat every client as a long-term relationship, you'll find that a bigger percentage actually stay with you and start treating you as their primary art resource.


The new art market is an exciting and dynamic place, where simply changing up a few small things about how we conduct business can mean all the difference in fostering robust sales and at the same time connecting people of every ilk with art they'll love and treasure for years to come. Seeing the positives of aligning with fairs and organizations that support a sustainable art market is a big piece of the puzzle, and adapting to what works best completes it. We hope this was a helpful read, and feel free to comment with any suggestions on topics you'd like us to cover!


Alex Mitow
Director of Superfine! The Fairest Fair


At Home With The Directors: Why (And How!) We Collect Art


At Home With The Directors: Why (And How!) We Collect Art


At Superfine! in Miami this past December, we hosted a lively panel discussion entitled "Sorry, I'm Not A Collector." The title, a reference to a quote from a Seattle-based Microsoft exec at an art fair out west, belies the actual point of the conversation: to challenge what makes someone an art collector, and encourage people at all stages of life to either begin or expand their own collection. Collecting original artwork is a bug that my partner (and Superfine! creative director) James Miille and I have certainly caught, and I for one think we're all the better for it. One of the central aims of Superfine! is to inspire collecting among people at all demographic and income levels, and we feel very strongly about doing all we can to help illuminate the path to being a mindful and supportive art collector. On top of that, collecting allows us to immerse ourselves in the market we're helping grow, and gain an insider's perspective on what makes art-lovers tick as well as the concerns of artists and galleries.

To show you a bit of what we love, and provide some pointers on how best to grow a meaningful collection of your own while still staying within your budget, we decided to bring you home with us! We hope that our own personal experience with art collecting will be of some help to budding and experienced collectors alike. So read on, check out our collection, and enjoy!


One of the very cool things about collecting art is that each piece is so limited that you're often the only one who has it (in the case of an original work) or even if it's an editioned print, you're one of very few. It's a way that you can truly express your own individuality within your home or any other space you live or work in, and one of the exciting parts of starting to identify favorite artists and collect their work is that you'll begin to see patterns and trends not only in the work but in the ways of thinking that drew you to it initially. It's important and rewarding to identify these trends and follow them as you'll ultimately end up with a collection that's uniquely suited to you rather than a house full of regrets.

ALEX: Our collection is all over the map from street art illustrative pieces by Ramiro Davaro-Comas to faux-naïve painted pennants by Peyton Freiman, and a great breadth of work by our local Miami artists, but we've definitely identified a few loosely defined categories that tend to embody our tastes. Queer/gay art that still feels classically motivated is a big cornerstone of our collection. I came across a Taschen book about "godfather of queer art" James Bidgood, a New York photographer who painstakingly turned his Manhattan apartment into a myriad of highly stylized tableaus. In his scenes, he'd execute these photo shoots with attractive young men that are at the same time sensual and completely innocent. By researching, I came across his representing gallery ClampArt. After emailing the owner, Brian Clamp, we were able to obtain one of Bidgood's photographs and can't wait to showcase it (side note: we're also very excited to have ClampArt on board as an exhibitor in Superfine! NYC this May, where they'll be showing work by Scott Daniel Ellison). We also have works by painter Gio Black Peter, who's been compared to a modern day Gauguin and was also a Superfine! exhibitor this past December. His works are part S&M, part Sundays in the park with George. Both vibes at once - they're really something unique.

We also really love locally relevant art that fits into our own narrative. We're back and forth between New York and Miami and my heart exists in both places, so our collection embodies that. One of the first pieces I bought while living in NYC was a distorted perspective landscape of Central Park by Joshua Benson, and it now hangs above our dining nook in our Miami Beach apartment. From a Miami standpoint, we've got works by Stuart Sheldon, a master of literary collage and mixed media paintings, along with pieces by Jenny Perez, Luis Lazo, Jean-Paul Mallozzi, Santiago Garza, and our very own Superfine! Director of Exhibitor Relations Deming King Harriman. We even had our friends from the artist duo Nice'N Easy (who did an incredible installation and backdrop at Superfine! Miami in December) show our stairwell some tropical vernacular love with our very own in-apartment swimming pool!

JAMES: Beyond queer/gay art and locally relevant art, our home collection also includes a great deal of deeper and more emotional artwork--art that puts a picture to a narrative and elicits thoughts and feelings you can't quite describe. One of my favorite pieces hangs in our office from Moroccan-born, Paris-based artist Mina El Bakali. We bought it in Paris during a show at Galerie 55Bellechasse that both Mina and I were a part of. The work is both drawing and mixed media collage, and it depicts a swarm of wolves with the cutout of a human fetus glowing inside of one of the beasts, and at the bottom reads the words, "Depuis que je suis née, je n'ai jamais cessé de hurler ma douleur"-- ever since I was born, I have never ceased to yell my pain. It's very deep and moving. We've curated a majority of this narrative-based artwork into a salon-style wall in our bedroom that doubles as art that is very personal to Alex's and my life stories. The wall includes works from the likes of Miami artists Lori Nozick and Alex Zastera, as well as an anonymous yet very captivating work Alex found on the streets of New York when he lived there--not to mention a handful of original Alex Mitow collages as well as a black and white photo I captured of Alex near the very beginning of our relationship.

Whether it was intentional or by accident, we've also grown very fond of artwork with a bit darker humor. We decided to turn one of our bathrooms into an ominous yet playful lavatory that appears to be straight out of an old-time Hollywood hotel room, complete with aging vintage portraits with their eyes scratched out by artist Nico Mingozzi, courtesy of Galleria d'Arte Raffaella De Chirico. Along our hallway, we've very fittingly hung a painting  by Uruguayan artist Ana Braconi that we got at MACHETE while in Mexico City. The little painting depicts Annie's death scene (just before the act) in the movie "Halloween" above a series of painted "cassettes" by VHS Girl that we found at SCOPE Miami last year, in New Orleans-based Red Truck Gallery's booth. We've noticed with our collection that while we do have very noticeable niches in the artwork we're drawn to, those categories certainly overlap in any one piece. Take our "life box" by Jon Davis of 55Bellechasse, for example; the multi-layered collage on top of the living room from The Brady Bunch features some man-on-man action from the hyper-masculine Tom of Finland book series (gay, check) and a larger-than-life woman with her face shrouded in darkness (dark, check), which together definitely lead you to wonder what's going on in the scene (check)--not to mention, he's based in Miami (check!).



To the uninitiated, the idea of collecting art often conjures up images of auction houses and million dollar transactions on conceptual works designed to appreciate in value. However, the common thread in all conversations I seem to have with other collectors is simply to collect the work you love--and want to see on a daily basis. Unless you're operating a hedge fund whose parachute plan revolves around a couple dozen original Picassos or Keith Harings, buying original art is less of a surefire financial investment and more of a personal, aesthetic, and emotional investment. You're going to be the one seeing it every day, so you'd better be prepared for the visual language of the artwork you buy to seep into your consciousness in a way that's just as stimulating as any other art form. That said, it's not a scary thing! Many people say they just don't know what to buy or where they'd hang it. Simply go with your gut and if you love the piece, you'll find a place for it.

ALEX: Many of the pieces in our home have a deep emotional connection to our own life stories, and our life together. For example, this past Miami Art Week my family visited our fair and met the talented painter Alex Zastera, who paints (among other things) "nightscapes", which I'd describe best as night-time portraits of buildings or landscapes that highlight their ephemeral nature. Unbeknownst to me, my family commissioned Alex to create a painting of my recently deceased and much beloved grandmother's home, where I'd spent a great deal of time growing up. They had him go to my home town, visit the home, and then paint his unique hybrid of portrait and still life. When I unwrapped it I immediately knew that this piece was special, and regardless of its dollar value I'd never part with it.

JAMES: You may have noticed a certain shiba inu hidden in plain sight in the photos in this post--his name is Coda, and he's the shining, brushwood-colored beacon in both Alex's and my lives. During Superfine! Miami 2016, I reached out to our exhibitor Laundromat Art Space's Michael Williams to paint a commissioned portrait of Coda in his signature "overexposed" style, and after seeing the results, I couldn't be happier. Alex and I have a small handful of commissioned paintings in our home collection; if there's an artist whose work you love, consider asking that artist or their representative if they're open to creating personal pieces for you. It usually doesn't cost much more, and it can make the work you buy that much more special!



Artists, fairs, galleries, curators, websites, pop-up shows.

It all feels a bit overwhelming but the best advice is to dive right in! Connect with your local galleries and find the ones who are showing what you love. For us in Miami, that's been &gallery, Dina Mitrani Gallery, Harold Golen Gallery, and others that all embody the same sense of passion and fervent belief in the work they show. You get to a point where you trust the galleries and they trust you and know your tastes and budgets. When you visit another city, do a bit of research in advance and find out which galleries align best to your tastes. In Paris, we love 55Bellechasse and have bought work by some of their more emerging artists, and in New York the aforementioned ClampArt consistently puts on shows with works that are well-priced and inspired. Most important in the equation is your own taste as well as the gallery's level of professionalism AND acknowledgement of you as a potential collector. We feel very strongly about those galleries that treat patrons with respect, and as Harold Golen so eloquently put it when we recently visited his Wynwood space: "The coolest gallerists are usually the ones with the coolest art." We've found that this holds true, and when you feel that genuine connection it usually goes hand in hand with quality work.

We can't say this enough, but attending high-quality independent art fairs that focus on highlighting emerging artists and galleries is incredibly key to both educating yourself and helping kick-start your collection. You'll meet artists and galleries that are far outside of your usual geographic reach and get a broad sense of what's out there, what's fresh and new, as well as second glimpses at work you might've seen online or in the past. At Superfine! in New York, we're hosting local New York artists and galleries but also artists from Barcelona, Japan, and Miami, as well as galleries like BoxHeart Gallery, a homegrown contemporary art program out of Pittsburgh, and NooxArt, which places the spotlight on emerging Mexican artists and is based in Mexico City. Visiting fairs is a way to take an international art-hunting trip without having to leave your home base (although you certainly should try, that's rewarding too!) It's also fantastic to forge personal relationships with artists and visit fairs (like ours!) where independent artists represent themselves alongside galleries. When you meet artists, you can often see works that might not make it to gallery shows, and can find something very unique and personal to you.

ALEX: One of our coolest finds on an international trip was this little watercolor piece of a medieval snail-meets-knight battle by Alexis De Chaunac, a French-Mexican artist based in New York. We got it at the first Zona Maco fair we attended in Mexico City last February. It's a quirky little piece and we love it, and we made a wonderful connection with Alexis' Brooklyn-based gallery ART 3 and the director Silas.



Budget is obviously a major concern, especially for newer collectors. There's no way around it, buying art is certainly a luxury. That said, it can be a very attainable luxury if you play your cards right. We allocate a small monthly budget for art purchases, and allow for a bit of a running debt as well for when we purchase art through payment plans. Here are a few great strategies that enable you to find artwork you love and actually buy it:

1. THINK IN CONTEXT - A work might cost more than you've spent on art before, but it's something that you'll carry with you for many, many years to come and will give you pleasure each and every day. Let's say it's a piece that costs $2000. That $2000 gets played out for the next 40+ years of your life (and maybe your kids' lives after that!) which makes it a paltry $50 per year, or under a dollar a week. Can you think of other things that you spend a dollar a week on that give you less joy than an incredible, personal piece of art?

2. ZERO IN ON WHAT YOU WANT - Find an artist whose work you love, then find ways to obtain more affordable versions of their work. It might go beyond visiting the gallery show and you might need to do some digging. Galleries often have back stock from previous shows by that artist, or smaller works. If you don't know, just inquire! Artsy and Instagram are incredible ways to identify the artists and galleries that feature work you love, and beyond that it's worth it to make a connection. Does the artist have prints? Can you meet them or do a studio visit? We provide year-round opportunities through our Collectors' Society program to connect with artists and their champions one-on-one and these are ideal situations for you to get to know an artist or dealer better, and find out how you can get your hands on a piece that you're keen on.

3. PAYMENT PLANS - When you establish relationships with artists and dealers, many will offer you a payment plan in order to make it easier to obtain the work without laying out a large initial sum. In some cases, if you've gained their trust they'll even give you the work first, but in most scenarios you'll receive the work when it's paid off. Every gallery and artist has different policies when it comes to this but it never hurts to ask. Some of the pieces we treasure most would have been far out of our budget if not for the friendliness of the artists and galleries we've connected with and their leniency with allowing us to pay off works over time.

4. PRINTS, EDITIONS, + MORE - Most artists create limited edition prints of their works. A piece that might go for $15,000-$20,000 as an original could be yours for only $150-$300 depending on how many they've made of it. What we look for when buying prints are primarily low runs (i.e. the total number printed is not very large, definitely under 100) and quality of printing (the paper should be archival, and retain a similar luminosity/integrity to the work itself). It's always incredible to own an original work, but when you can't, a print is a really great and very accessible substitute.

ALEX: Besides prints, there are other ways to bring artists you love into your home. We love the work of Maurizio Cattelan/Toilet Paper but it's far out of our price range, so we have enamelware plates and collectibles made by Italian brand Seletti using Toilet Paper imagery, as well as a comprehensive collection of Toilet Paper magazines. James and I are also big fans of art book publishers like Rizzoli, Taschen, and Assouline and we have books of works by Hernan Bas, Dali, and others that we display as works of art to be flipped through and enjoyed.


ALEX: I've always loved collecting things, and I'd say that my style before I met James was a hodgepodge of early to mid century oddities and concept kitsch, mixed with a bit of ephemera that I put together in what I thought was an interesting way. I didn't consider myself much of an art collector, but early on in my stint in New York I started to accumulate pieces that went with the décor and overall vibe of my exposed-brick duplex in the East Village. One of the first pieces I bought, which I remember vividly, was a signed + editioned print of a jazz album cover designed by Jim Flora, which I picked up from East Village mainstay Dorian Grey Gallery (now a pop-up and online project). Much of our early East Village art (that's what I'll call it here!) currently resides in our Miami living room -- a throwback to more cramped quarters and a loose, bohemian vibe. Around the time James and I met and started dating, we began to bring more and more work into our home and as we moved on to Miami we only expanded our collection.

JAMES: Beyond being the creative director of Superfine!, I'm also a photographic artist specializing in composite images depicting surreal, parallel worlds. While I've always collected assorted items in my life (gems, minerals, and an array of props), I had never even considered collecting other artists' artwork up until a few years ago--I figured it would be easy enough and less expensive to fill my home with my own work. However, since starting Superfine! and offering a platform for others to collect art at all levels, art collecting has become an attainable goal in my eyes--and an addiction! I've of course been right alongside Alex in building our whole collection, but I took a new step this past December at Superfine! by zeroing in on a piece I fell in love with by Santiago Garza and purchasing it completely on my accord. Although we still have a few of my own pieces hung along our walls, having a home filled with such a variety of artists' work that somehow all fits together has been so much more inspiring--as an artist, an art fair director, and an art-lover.

Thanks for joining us, and we hope this glimpse into our little collection helped spark the fires of your own passion for bringing art into your own home. For more information on the Superfine! Collectors' Society, simply click on the "Collect" tab at the top of this page. Oh, and see you at the next Superfine!

- Alex Mitow + James Miille, Director and Creative Director of Superfine! Fair


I Bought This...But What Is It? Art Education in a Modern Age


I Bought This...But What Is It? Art Education in a Modern Age

Throughout every aspect of Superfine! we make no bones about it - our overreaching goal is to promote sustainable art sales for our exhibitors (and for artists and galleries around the world) by highlighting the intrinsic benefits of creating a personal art collection. Does this mean that we're simply a commerce-based platform aimed at commoditizing art in a way that places base-level aesthetics above the narrative, romantic, and emotional qualities of an artwork--not to mention the individual skills the artist has built over their career? Au contraire, my dear! Education is a huge part of what makes Superfine! the fair and the platform that it is, and as our core team's art education continues to grow (education should never cease!) we continue to develop programming aimed at sharing that knowledge, and providing perspective from those who know more than we, with our ever-growing base of collectors and art appreciators.

On a recent afternoon in Coconut Grove at the home gallery of respected veteran art dealer Bernice Steinbaum, over cups of espresso and biscotti, the art world maven shared insight into what initially drove her to become a dealer and how education plays into that role on a daily basis. I'm paraphrasing here (so don't kill me, Bernice!) but essentially the takeaway was that "without an educational component, you're better off being a used car dealer - it's less work and much more lucrative!" Education isn't just part of the job, it IS the job. I took this to heart - what makes art so special is that with each piece comes a story, and the storyteller is such an important piece of the puzzle. We've consistently bucked art world norms by creating space for both independent artists and galleries, dealers, and curatorial collectives within our fairs. One thing, however, remains consistent: we accept only those exhibitors who demonstrate a sense of professionalism and openness to discussing art with our attendees. The people who represent the art at our fair are every bit as much the product of the fair as the art on the walls, and whether they're the artists who've created the work or the dealers representing it, it's so incredibly vital that they provide context and education about the artwork for our attendees. We're creating an experience, not just a marketplace, and what sets us apart is that connection.

I'm not only bigging up Superfine! here - we're certainly an aggregator, but the talent and penchant for art education is all around us. In Miami, we love Laundromat Art Space and the Fountainhead Studio complex, both home to past and current Superfine! exhibitors (you've got to allow me one shameless plug here!) Take the time to visit your local collective art spaces whenever there are open studios (2x/year for Fountainhead and on a regular schedule for Laundromat - follow them on Facebook for more info.) For NYC locals, anything involving the chashama foundation is a good bet. Visit and support galleries that go above and beyond suave and smooth-talking dealers and incorporate an educational component into their program - it will mean all the difference when you buy that incredible piece that will be passed down and treasured throughout generations of your family. When you schedule out your art fair weeks like Armory, Frieze, and Art Basel Miami Beach, maybe skip a party or two, avoid the inevitable hangovers, and instead key in on a few well-positioned panel discussions that affect your outlook on art and its context. We discussed queer artists working within and outside of their comfort zones, starting out as an art collector, and the future of Miami at Superfine! 2016; Superfine! 2017 in NYC will bring conversations about education in art (so meta, no?) as well as panels that contextualize the growing international art scene in the face of Trumpism and a nationalist climate that seems to butt up against what we're all trying to accomplish. Whether it's at Superfine! or not, we want you to take the time to learn about not only the individual artworks you're interested in but about the world you're entering as an art collector. It's an incredibly rewarding journey that we want you to be a part of.

Last but not least, we strongly encourage you to join the Superfine! Collectors' Society. All it takes is a brief 2-3 minute long survey that helps us tailor our year-round programming to your tastes, and you'll be invited to a bevy of fun and educational opportunities to engage with artists and art professionals throughout the year. Our calendar stretches from New York to Miami to Mexico City and involves things like studio tours (we just had a great one with artist Michelle Weinberg in Miami), dinners that are both fun and educational (who knew that was possible?), and opportunities to access museums and institutions in an unconventional way. Simply visit to take the survey and be a part of something that will help you grow not only as an art collector but as a global citizen.

Happy learning and happy collecting to all of our Superfine! friends, and see you in New York this May!

--Alex Mitow, Director of Superfine! The Fairest Fair








Why is "Affordable" Such a Dirty Word When it Comes to Art?


Why is "Affordable" Such a Dirty Word When it Comes to Art?

Since founding Superfine! in 2015, I've personally taken a roller coaster ride through the do's and don't's of art world lingo in order to come up with a strong and cohesive language around Superfine! that fulfills two main criteria -- explaining the fair in a succinct and engaging way to our target market of young professionals on the hunt for original artwork in their budget, and making sure that our core clients -- galleries and artists -- understand what we're about and how much we have their best interests at heart.

Each time we've pioneered and adapted the concept that Superfine! represents we find ourselves trying to do the tango with one particular word (or better, phrase) -- affordable art. Not to be confused with that other chain of fairs of the same name, which has had an incredibly successful run of introducing aspiring collectors to well-intentioned artwork in locations around the globe, affordable art to me simply means that if I like a piece, there's a chance I can actually take it home with me. It doesn't deliver any negative connotations, but I do understand and respect that that may not apply to all people. We've sometimes referred to Superfine! as a curated, affordable art fair and recently a dealer told me that "I'd better take that word out, because it's like poison to us." Again, I understand the sentiment, but let's take a look at this:

Who's buying art today? Times are uncertain, politics are all over the place, and the market in general is conservative to say the least. Of course, there are a handful of billionaire collectors who simply can't be stopped, but for every gallery that's able to grow and thrive off of a small group of very wealthy people, I can show you one whose bread and butter are young professionals like myself and my partners who work very hard, appreciate art and culture, and simply want to find a way to bring more of it into their own homes. With that in mind, I think it's vital that even when we're careful with language, that we do our best to make sure the message is communicated as clearly as possible to the people who are driving at least our little corner of the art world.

Affordable means quite simply that you can afford it, not that the work is cheaply made or the artists are less talented. We absolutely have no desire to hurt an artist's market or inhibit their growth, and when the scarcity and complexity of their creations dictate that their market takes them outside of the price cap of our fairs, we wish them nothing but the best of luck as they continue to grow. However, what we do seek to do is provide a correction to the market at the emerging level, where artists who hold out for years for a big break and the galleries who champion them are able to create economies of scale by showcasing their work, or iterations of it, at prices that are within the reach of a newer class of collector who has the buying power and enthusiasm to support an artist's success over the long term rather than with a short burst of purchases.

There is another word -- accessible -- which is often bandied about as a replacement for affordable, and I do often find myself using the phrase "accessibly-priced" in conversation and outreach both in reference to our own rates and the price points of the art that we showcase, but I think as a standalone word that "accessible" lacks the oomph and straightforwardness of "affordable". It feels a bit euphemistic and a bit saccharine, and I like that affordable tells you point-blank that you'll find something you love, that you can have.

Ultimately, a fair is an ever-evolving project and with each edition (and all of the in between times!) we'll constantly strive to perfect not only our execution of Superfine! and our year-round programming, but also how we talk about what we do. In the mean-time, we'll continue to champion the work of the talented artists and galleries that make up each Superfine! as not only of the highest quality in execution and curatorial fit, but also as affordable to the emerging collector. I firmly believe that with strong artwork, adherence to principles, and a well-curated fair, the message comes through that this is not only less expensive but also a new way to experience art.

We come in peace.

--Alex Mitow, Director of Superfine! The Fairest Fair