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Grand Seiko



Good morning.

This week, Spencer was knee-deep in the Miami Art Week mishegas. While there, he surveyed paintings, photographs, sculptures, and installations across four fairs: Untitled Art, Art Basel, Design Miami, and NADA. In the works on view, several post-pandemic threads came to light: a grasping for tactility; a yearning for a utopian, Edenic idyll; and a sense of whimsy and play. With Art Basel turning 20 this year and realizing its largest edition ever, with 282 galleries, the entire week seemed to be a more mature and slightly less amped affair than it was in the pre-pandemic 2010s.

On this week’s episode of Time Sensitive, Spencer’s in conversation with the designer and entrepreneur Tina Roth Eisenberg about the deep value of heart-centered leadership. Next week, he speaks with the artist Hank Willis Thomas, co-founder of the artist coalition For Freedoms, which debuted “For Freedoms News” at this year’s Untitled fair.


“Ilan's Garden” (2022) by Doron Langberg. (Courtesy the artist and Victoria Miro)

As Art Basel Turns 20, Miami Art Week Enters a New, Slightly Less Hyped-Up Dawn


By Spencer Bailey



That the first work of art I saw during this year’s Miami Art Week was a newscast seems somehow appropriate in our precarious-yet-emerging-from-Covid present. “How do we make sense of things in today’s age of misinformation and sped-up media ecosystem?” the artists behind it, from the civic-engagement coalition For Freedoms, appeared to be asking. “And really, what’s the difference between art and the news?”

Just beyond the entrance to this year’s Untitled Art fair was the installation “For Freedoms News,” a project billing itself as a “creative experiment in artist-run media.” Playing off the seemingly official appearance of a CNN-, Bloomberg-, or Fox News–style broadcast set, the effort featured a community of artists, dealers, fairgoers, and others—from the poet Aja Monet to the reporter Marisa Mazria Katz to the digital strategist JiaJia Fei—in conversations around art, politics, and society. Coy as it may be, the entire concept made a compelling case around the performative nature of both the art market and broadcast media, as well as who shapes “reality” and who has the control to elevate particular voices. 

Continue reading here.