Frieze London

For the 2026 edition of Frieze London, Garth Greenan Gallery will present works by Melissa Cody, Rosalyn Drexler, Paul Feeley, Pap Souleye Fall, Carole Harris, Sadao Hasegawa, Cannupa Hanska Luger, Al Loving, Norval Morrisseau, Gladys Nilsson, Howardena Pindell, Fritz Scholder, and Emmi Whitehorse, alongside special paintings by Alfred Jensen and John Wesley.

Booth highlights include:

• Howardena Pindell’s Kensington Series #3 (1974), a painting from a seldom-seen body of work featuring numbers and invented glyphs in an iteration of her signature approach to symbol, repetition, and abstraction.
• A bison regalia from Cannupa Hanska Luger’s Midéegaadi series, previously on view in the artist’s solo exhibition Dripping Earth at The Joslyn Art Museum in Omaha, Nebraska, earlier this year.
• A striking example of Al Loving’s hard-edge geometric works, Seven Violet Septehedrons (1969), which was included in the artist’s landmark 1969 exhibition at New York’s Whitney Museum of American Art—the first time a Black artist received a solo presentation at the museum.

Frieze London will take place at The Regent’s Park, with VIP preview access beginning October 14 and public hours October 15 through 18. Garth Greenan Gallery will be at booth C10.

About the artists

Born in No Water Mesa, Arizona, Melissa Cody (b. 1983) is an enrolled member of the Navajo Nation. A fourth-generation weaver, Cody creates tapestries that draw on the tradition of Germantown Revival, a stylistic movement that emerged from the Long Walk or Hwéeldi. For Cody, this century-old genre of weaving—characterized by vivid colors and bright, dazzling designs—is simultaneously an expression of history and a powerful vehicle for picturing contemporary life: “I’m a child of ’80s video game culture,” she says. “Pac-Man, Frogger, Nintendo. I grew up with this world of pixelation.”

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 the early 1960s—at the same time as Andy Warhol and Roy Lichtenstein. Graphically intense and thematically dark, Drexler’s artworks channel the sinister undercurrents of American life, evoking  themes of sexuality, fame, and violence. 

Pap Souleye Fall (b. 1994) is a Senegalese American artist whose multidisciplinary output spans video, performance, comic book art, and cosplay. Deeply influenced by the world-building associated with internet subcultures and online fandoms, Fall has created a growing constellation of narratives and images that explore dynamics of visibility and invisibility, opacity and fugitivity, as they play out amid the virtual and physical spaces of the present.

Paul Feeley (1910–66) was born in Des Moines, Iowa, and spent much of his career teaching at Cooper Union and, later, Bennington College, where he spearheaded the school’s celebrated art department. Appearing in such era-defining exhibitions as Post-Painterly Abstraction (1964), The Responsive Eye (1965), and Systematic Painting (1966), Feeley was an influential artist and major figure in the Color Field movement. Informed by a lifelong fascination with Greek, Moorish, and Cycladic art, Feeley’s work is distinguished by rounded, symmetrical shapes, expansive fields of bold color, and a profound, nearly meditative stillness.

Carole Harris (b. 1943) is a Detroit-based fiber artist who has redefined the basic concepts of quilting. She extends the boundaries of traditional quilting by exploring alternate forms of needlework and by incorporating unconventional shapes, textures, and materials, considering the history of African American quilting and the geometric conventions of modernism.

“My desire is to create [a] universe of beauty of men in a way which differs from the Western point of view” wrote the Japanese erotic artist Sadao Hasegawa (1945–99). In Hasegawa’s work, dazzling colors, evenly shaded grounds, and smooth, chiseled physiques populate fantastical playgrounds of metamorphosis and sadomasochism. Occupying the tradition of erotic illustration, Hasegawa drew on a wide array of sources, including Southeast Asian mysticism, Japanese folklore, science fiction, and Ovidian myth.

Recognized as one of the great abstract painters of his time, Alfred Jensen (1903–1981) found inspiration in a wide range of sources and studies, such as theories of color and light, mathematics and scientific formulations, astronomy, the Mayan calendar and hieroglyphs, Greek architecture, and systems of divination. At Frieze London, the gallery will present Jensen’s 1967 painting The Acrobatic Rectangle, Per Fifteen.

Based in New York throughout his career, Al Loving (1935–2005) was a pioneer of postwar abstract painting. The first Black artist to receive a solo show at the Whitney Museum of American Art (1969), Loving initially received acclaim for his hard-edge geometric compositions. In the 1970s, Loving decisively abandoned this approach and adopted an entirely new method of abstraction. Cutting and tearing painted canvases and paper into strips, Loving reassembled the colorful fragments into decentralized, unframed compositions.

Born on the Standing Rock Reservation, North Dakota, Cannupa Hanska Luger (b. 1979) is of Mandan, Hidatsa, Arikara, Lakota, and European descent. An enrolled member of the Three Affiliated Tribes of the Fort Berthold Reservation, Luger works in media including installation, sculpture, video, and performance. Forming a spine through the artist’s practice is his Future Ancestral Technologies series, an ongoing body of work inaugurated in 2015 that imagines a distant future shaped by inherited systems of Indigenous knowledge.

Norval Morrisseau (1932–2007) was a painter from the Bingwi Neyaashi Anishinaabek First Nation of Canada and is widely considered the grandfather of contemporary Indigenous art in Canada, founding the Woodland School of Art movement in the 1960s. Morrisseau’s paintings, which feature thick black outlines and vibrant, electric colors, frequently depicted legends of his people, socio-cultural tensions between Indigenous and European traditions, and his personal spiritual beliefs. 

A Chicago-based artist, Gladys Nilsson (b. 1940) first rose to prominence in 1966 as one of the original members of the Hairy Who, alongside fellow Art Institute of Chicago Graduates Jim Falconer, Art Green, Jim Nutt, Suellen Rocca, and Karl Wirsum. Celebrated for her densely layered and meticulously constructed watercolors and collages, Nilsson populates her joyful, surreal scenes with a bombastic, ever-evolving cast of characters. Dancing, singing, applying makeup, or eating cake, these long-limbed figures cluster and mass in a range of enigmatic scenarios, invoking themes of femininity and domesticity, gender and sexuality, beauty and the grotesque.

Howardena Pindell (b. 1943) is a New York-based artist born in Philadelphia. A key member of a 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. 

Born in Breckenridge, Minnesota, Fritz Scholder (1937–2005) was an enrolled member of the Luiseño tribe. A major influence for generations of Native artists, Scholder is best known for a groundbreaking series of paintings from the 1960s and 70s that depict brutal scenes of alcoholism, poverty, and the cultural subjugation of Native Americans. 

John Wesley (1928–2022) was an American painter who eluded broad categorization among critics and contemporaries but is often found in the company of Pop Artists, Minimalists, Surrealist, and Outsider Artists. Wesley’s deadpan and cartoonish compositions featured meticulous lines, a muted yet saturated color palette, and subjects ranging from animals, nymphs, and nudes to infants, historical figures, and comic-strip characters.

An enrolled member of the Navajo Nation, Emmi Whitehorse (b. 1957) is an artist based in Santa Fe, New Mexico. Her paintings—four examples of which appeared in the 2024 Venice Biennale—feature atmospheric fields of diffuse and shifting color that teem with elemental forms. Meditative and slow, Whitehorse’s painting is rooted in the Navajo philosophy of Hózhó, a concept connoting beauty, order, harmony, and balance. “My paintings tell the story of knowing land over time,” she says, “of being completely, microcosmically within a place.”