You may have heard about Art Basel’s new fair in Doha, Qatar launching in February of next year—and the most recent announcement that Abu Dhabi Art will become Frieze Abu Dhabi in 2026. With over 500 people in the gulf who count as centi-millionaires (worth over 100$M) and around 50 billionaires, the opportunity for growth there is clear.

The global art market has expanded almost seasonally over the last 25+ years. Different regions have carried the weight, our memory of the order is: Japan, Russia, Korea, The Gulf, Hong Kong and mainland China, and the rest of South East Asia —all the while being led by the USA and UK/EU.

There has now been a pause. So what's next—West Asia and India? We (along with major auctions and now major art fairs) are paying particular attention to West Asia for now, where we’ll be at the end of this month. 

The approximate price range for the groups of works on offer at Cady Noland's buzzed-about, self-titled exhibition at Gagosian’s 555 West 24th Street space, according to sources with direct knowledge. (The gallery does not comment on prices or sales.)

After piling up acclaim between 1988 and 2000 for her meticulously crafted sculptures, silkscreens, and installations probing the dystopian spirit of America, Noland essentially opted out of the industry’s expected hustle—the press, the networking, even the ongoing for-profit exhibition cycle—for roughly a decade. When she began to re-engage more publicly around 2012, her presence was most often felt in the form of the disclaimers she wanted posted whenever dealers or collectors presented her work in ways she had not authorized.

Following surprise exhibitions of new work at Galerie Buchholz in New York in 2021 and at Gagosian’s Park and 75th Street space in 2023, Noland’s return to Larry Land represents more than a chance to reconnect with long-standing fans via what may be the most fresh material she’s displayed in one commercial venue in her entire career. (Of the 38 discrete entries on Gagosian’s exhibition checklist, 36 are dated to 2025.) It’s also her grandest statement yet to a younger audience that has shown a penchant for rallying around older visionaries who have refused to play the game on their creative industry’s typical terms. If millennials and zoomers embrace Noland the way they’ve embraced unapologetic mavericks like David Hammons, David Lynch, and Kate Bush, it will mean as much for her legacy as anything that came before.

—Tim Schneider / The Gray Market

Olivia from Geneva ASKed: In what other ways—beyond buying—can I support the arts?

Josh Baer for No Reserve: Collecting art and patronage of the arts used to be virtually synonymous—until the financial stakes and gains from the market took off. In fact, the exact moment it all changed was the auction of Robert and Ethel Scull’s collection at Sotheby Parke Bernet in 1973 (I recall being there, but maybe I was, maybe I wasn't). A taxi license mogul made millions in profits that the artists did not share, although at that moment, artists certainly benefited in the long run.

Now if you live somewhere that is not an arts capital, buying locally in galleries is still one of the best ways to support the community.

In the long run, supporting arts education goes a long way. When I was in Saudi Arabia this spring, I spoke with a major collecting family who wanted to build and support art schools. Remember—art wasn't taught at all in their schools until maybe the last 5-10 years. Where there are working artists, creativity flourishes to the benefit of everyone.

Look for lower revenue not-for-profits too. If you live in a country with tax advantages, each dollar will go further and give you an edge.

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