Is every artwork inherently political, and has this always been the case? Can the interpretation of the same artwork be dependent on the political climate, the era or the geographical location in which it is being presented? Does art possess a timeless quality?

In contemporary art fairs and biennials, these questions can work as platforms for introducing new artistic approaches, emerging talents and for reintroducing past works that now may hold different significance. Artists constantly reimagine our world, offering fresh perspectives. Yet, within the realms of commercial and nonprofit art scenes, we must ask whether we amplify artists’ voices and provide them space for expression or, at times, reduce their sacred creations to commodities and symbols of status and power. I, more than ever, entrust artists to help us navigate this moment, reframe the past through the present and account for history’s omissions and erasures.

This past September, New York City marked a new era in the art market, with a significant shift in the cultural landscape. The Armory Show, a prominent art event, unfolded within the colossal Jacob Javits Center, somewhat overshadowed by the ongoing construction frenzy engulfing the city. Simultaneously, Freeze, another global art event in Seoul, South Korea, presented a complex choice for collectors and dealers alike.