For the 2025 edition of Frieze London, Garth Greenan Gallery is pleased to present a selection of works by Derek Boshier, Rosalyn Drexler, Paul Feeley, Mark Greenwold, Nicholas Krushenick, Ester Partegàs, Howardena Pindell, Máret Ánne Sara, and Jaune Quick-to-See Smith.

Booth highlights include:
- A wall sculpture by Máret Ánne Sara, whose major site-specific installation opens at the Tate Modern's Turbine Hall on October 14.
- Signature early-1960s paintings by Pop Artist Rosalyn Drexler, who passed away this year at the age of 98.
- Mark Greenwold's Bright Promise (for Simon), an early-1970s masterpiece of figurative realism.
- Recent works by Catalan-born, New York–based artist Ester Partegàs

Also in London, Jaune Quick-to-See Smith's bronze King of the Mountain, co-presented with Stephen Friedman Gallery, is on view through November 2 at Frieze Sculpture in Regent's Park. On November 7, Fruitmarket in Edinburgh will open Wilding, the first institutional survey of Smith’s work in Europe.

Frieze London will take place at The Regent’s Park, with VIP preview access beginning October 15 and public hours October 16 through 19. Garth Greenan Gallery will be at booth B17.

About the artists
Born in Portsmouth, UK, Derek Boshier (1937–2024) was a leading figure of the British Pop scene in the 1960s. Working in a wide range of media—from painting to video—Boshier was both prolific and wide-ranging in his artistic production, dealing with themes including consumerism, technological development, and the Americanization of Britain. Famously, he undertook collaborations with musicians, creating artwork for The Clash’s 2nd Songbook and the cover to David Bowie’s album Lodger (both 1979). Here, the gallery presents the 2021 Jacquard tapestry Ghost of a Flea. 

Rosalyn Drexler (1926–2025) was born in the Bronx, New York. Part of the original generation of American Pop artists, Drexler began using commercial imagery in 1961—the same year as Andy Warhol and Roy Lichtenstein. Only recently, however, has she received critical recognition for this achievement. Graphically intense and thematically dark, Drexler’s artworks channel the sinister undercurrents of American life, summoning themes of sexuality, fame, and violence. On view in the gallery’s booth are examples of her iconic work of the 1960s: Discovered (1963), and Untitled (1963). 

Paul Feeley (1910–1966) was an influential artist, teacher, and major figure in the Color Field movement. Appearing in such era-defining exhibitions as Post-Painterly Abstraction (1964), The Responsive Eye (1965), and Systematic Painting (1966), Feeley is the subject of an ongoing show at Garth Greenan Gallery’s New York location (closing October 25). Informed by a lifelong fascination with Greek, Moorish, and Cycladic art, Feeley’s paintings, watercolor, and sculpture are distinguished by rounded, symmetrical shapes, expansive fields of bold color, and a profound, almost meditative stillness.

New York–based painter Mark Greenwold’s famously laborious artistic process mirrors the psychological intensity of his paintings. Working under magnification, like a jeweler, Greenwold employs the tiniest of brushes to build up surfaces stroke by stroke. The result is a kind of delirious realism in which everything portrayed, however realistic, is actually composed of thousands upon thousands of beautiful abstractions. Displayed in London is Greenwold’s masterpiece, Bright Promise (for Simon), 1971–1975. A work of stunning virtuosity, the piece took five full years to complete.

Born in the Bronx, New York, Nicholas Krushenick (1929–1999) studied painting at the Art Students League of New York and the Hans Hofmann School of Fine Arts. The loose geometries and web-like forms of his early 60s “pop abstract” paintings demonstrate his deliberate caricature of Abstract Expressionist “drips” or “skeins” into what more closely resemble details from cartoons—like Superman’s hair follicles, as critic Robert Rosenblum once described. Here, the gallery presents two signature works from this period: Hippy (1966) and Love Juice (1969). 

For nearly three decades, New York-based Ester Partegàs has devoted herself to investigating the overlooked, “infra-ordinary” objects and commodities that populate the built environments of global capitalism. Manufacturing distorted replicas of items like plastic shopping bags, potted plants, and fast food, the Catalan-born artist sheds light on the invisible substrates of contemporary life, inviting us to see anew the hidden forces that shape our world. In London, the gallery presents two recent sculptures and a selection of works on paper.

Howardena Pindell is a New York-based artist born in Philadelphia. A key member of a small group of Black abstract painters, including Jack Whitten, Al Loving, and Sam Gilliam, Pindell developed a multifaceted art practice that fused deeply political commitments with a rigorous inquiry into the medium of painting. Deep Sea #6 features a groundbreaking technique of indirect mark-making the artist first developed in the late 1960s. Pindell sprays colored paint through hole-punched cardstock or manila folders to build up sensuous, abstract veils of diaphanous color. Meanwhile, Night Flight, 2015–16—a centerpiece of Pindell’s 2018 survey at the MCA Chicago—uses the leftover punched-out holes or “chads” to construct a vertiginous galaxy of color.

Born into a family of reindeer herders in Kautokeino, Northern Norway, Máret Ánne Sara is a Sámi artist and author. Her sculptures and installations deal with themes such as Indigenous land rights, cultural autonomy, and the colonization of the Sápmi region by the Norwegian state. Most famous for Pile o’ Sápmi (2017)—a sculpture consisting of 400 bullet-pierced reindeer skulls displayed at Documenta 14 in Kassel—Sara is also the recipient of the 2025 Hyundai Commission at Tate’s Turbine Hall, a major site-specific commission that opens October 14. In London, the gallery presents Guovssahasgoahti (northern light uterus), 2023, an assemblage combining traditionally prepared shoe grass, wool, and elements of traditional Sámi dress. 

An enrolled member of the Confederated Salish and Kootenai Nation, Jaune Quick-to-See Smith (1940–2025) passed away this past January at the age of 85. The recipient of a major survey at New York’s Whitney Museum of American Art in 2023, Smith is one of the defining Native artists of her generation. Across her five-decade career, she has imbued her paintings, sculptures, prints, and drawings with motifs drawn from Native iconography, American Pop art, and mass media in a profound, oft-times satirical meditation on histories of violence, environmental destruction, and dispossession. The work on view is Trade Canoe: Don Quixote in America (2024–25), one of the final paintings she made.