At NADA New York’s eleventh edition, a ceramic vocabulary came into full bloom—expressive, experimental, and central to the evolving language of contemporary art.
From May 7 to 11, the New Art Dealers Alliance (NADA) returned to New York for its eleventh edition, transforming the Starrett-Lehigh Building into a sprawling survey of contemporary voices. More than a hundred international galleries participated in this year’s fair, and among the many currents running through the booths, one was unmistakable: ceramics—not merely as medium, but as method, metaphor, and material proposition.
Clay emerged in myriad forms—at times central, at others understated—surfacing in the multimedia installations of Bénédicte Peyrat (Ribot Gallery); the layered, topographical sculptures of Hilary Harnischfeger and the base structures of Sacha Ingber’s furniture (Uffner & Liu); the incorporation of found objects in Andrea McGinty’s works (Chozick Family Art Gallery); and the mythical figuration of Jude Griebel (Massey Klein Gallery).
