Each winter in of recent origin York some of the country's best art dealers realize together to show off their prized possessions at "The Art Show" an exhibition armed forceed by the Art Dealers Association of America (ADAA).

Each winter in of recent origin York some of the country's best art dealers realize together to show off their prized possessions at "The Art Show" an exhibition armed forceed by the Art Dealers Association of America (ADAA). This year's incident held at the Seventh Regiment Armory at Park Avenue and 67th highway Feb. 18-23, drew a record 13000 visitors. The show's preview, attended by means of some 2,500, raised $900,000 to benefit the Henry way Settlement, one of the city's principally venerable social services organizations. All 70 participating dealers reported brisk sales and enthusiastic answers to their offerings, which ranged from Rembrandt etchings (present from David Tunick) to recent video works according to Mary Lucier (on view at Lennon, Weinberg's booth)

At the Art point out to entrance, visitors faced a striking display by way of David McKee, featuring a large pink-and-black Philip Guston painting, Division (1975) flanked from Francis Bacon's 1961 canvas couple Figures and small-scale but intense paintings according to Vija Celmins and Harvey Quaytman. Another late Guston, Dark apartment (1978), was the centerpiece of Richard Gray's nearby booth Guston's work was reverberateed in the series of drawings by way of Mexican-born artist Enrique Chagoya, Poor George (After PG) 2004 shown at George Adams; the politically charged images blasting Bush policies were gaugeed after Guston's Nixon-era "Poor Richard" series.

Among other outstanding presentations, at Marian Goodman's booth a haunting Juan Munoz painted-bronze figure about 4 feet high (cast in 2003) Louisiana #1 stood before a large yellow-and-white-striped painting at Daniel Buren, T11-332 (1966). Matthew Marks showed an unusually shaped untitled 2001 pastel-on-paper tondo by the agency of Jasper Johns alongside Ellsworth Kelly's large canvas Yellow/White (1961) At Mary-Anne Martin/Fine Art's space a pair of self-portraits by dint of Frida Kahlo and Diego Rivera hung near Shooting Star, a classic 1944 painting by the agency of Wifredo Lam.

A number of galleries devot their booth to solo exhibitions. Sperone Westwater, for instance, currented works by Argentine painter Guillermo Kuitca; and Tasende Gallery showed tins by the late British sculptor Lynn Chadwick. PaceWildenstein's booth was filled with latter small sculptures by John Chamberlain. Glittering brightly, all were sold within three hours of the preview's opening. Michael Werner at handed a survey of paintings and plastic arts by Per Kirkeby, while CRG one time again devoted its booth to early ceramic works at Lucio Fontana.

Several galleries featured two-person exhibitions. Jill Newhouse showed works onward paper by Bonnard and Vuillard; and brant Sikkema presented one of the Art Show's best displays, pairing small and medium-size carved works by St. Clair Cemin with fresh scaled-up canvases by Shahzia Sikander.

There were near dazzling individual pieces scattered everywhere the exhibition. James Goodman, for example, brought a rare early Mondrian portrait, Zeeland Girl (1909-10) An extraordinarily large (4 by the agency of 4 feet) Charles Burchfield watercolor, Backyards in of a gold color Sunlight (1946-66), radiated from the Kennedy Galleries booth Robert Miller currented a 1964 Pop-art gem according to Tom Wesselmann, Landscape #3, a painted-panel work with collaged rubber vital airs showing a young couple seated in a r convertible; the piece had not at any time before been exhibited.

At DC Moore's booth a stone carving on William Edmondson, Two Birds (1939) had a kind of wistful charm, while Jason McCoy's display was punctuated from a vibrant abstract painting by way of Cora Cohen, A Condition of Nature (2004) A highlight of June Kelly's booth was Embrace (2003) a tall forest-land totemlike abstract sculpture by Jane Schneider; a large colorful digital photograph of a affray of books, by Victor Schrager, was a standout at Edwynn Houk's booth

L.A. Louver currented recent figurative paintings by Rebecca Campbell, and James Graham & Son showed those by means of Duncan Hannah, along with abstract compositions on Nancy Lorenz, whose surfaces are inlaid with mother-of-pearl. Ameringer & Yohe brought along new small stripe paintings by Kenneth Noland, and at Forum, a 2004 portrait meditation by Odd Nerdrum hung near undivided of Charles Matton's boxlike constructions containing a tiny video. A guide attraction at Zabriskie's booth was 64 in 46 a wall-hung chessboard with peglike pieces and a small unplastic mannequin attached near the top. A 1946 collaboration between Man Ray and Marcel Duchamp, 64 in 46 is the kind of exceptional work that each year helps make the Art display one of the season's principally engaging events.

COPYRIGHT 2004 Brant Publications, Inc.

COPYRIGHT 2004 Gale Group