The following works have been acquired as gifts to the Tate collection thanks to the 2017 Frieze Tate Fund to benefit the Tate collection:

Dorothy Iannone (born 1933, Boston, USA)
Wiggle Your Ass For Me 1970
Acrylic on canvas, mounted on canvas
1900 x 1500 mm
From Air de Paris, Paris

Mary Beth Edelson (born 1933, Indiana, USA)
Selected Wall Collages 1972-2011
Ink, marker and paper mounted on canvas
Dimensions variable
From David Lewis, New York

Hannah Black (born 1981, Manchester, UK)
Intensive Care/Hot New Track 2013
HD colour video with sound, DVD and file on USB : 5 minutes 36 seconds
Edition 1 of 3
From Arcadia Missa, London

Lawrence Abu Hamdan (born 1985, Jordan)
Earshot (installation including the video Rubber Coated Steel) 2016
video (Rubber Coated Steel 2016), loudspeakers, c-type prints on Kodak metallic paper mounted onto rebounded foam
Video, HD, Sound, 21 minutes 47 seconds
Installation: dimensions variable
C-type prints on Kodak metallic paper mounted onto rebounded foam: 500 x 1250 x 20 mm each
Edition 2 of 2 AP
From Maureen Paley, London

As Frieze New York opens the VIP sprint from 2007 has been replaced with the pre-sale, according to Charlotte Burns:

“There is no doubt that there is a ton more pre-selling than ever before,” says one major New York-based collector, who asked not to be named. “I am shocked by how many galleries have sent lists of their entire Frieze booth to what must be a whole bunch of their clients. I’ve had tens, if not hundreds, of emails.”

The increase in advance sales is driven by intense competition between galleries to attract collectors, and between collectors to buy works. Work that is fresh to the market is particularly in demand. […]

“When the market is as strong as it is now, it’s hard to find great material, because the second we have it, someone wants it,” says Thaddaeus Ropac (C41). He says that half of the works in his booth are on hold and that he expects to sell them within hours of the fair’s VIP opening. “Major collectors know that access is key to the market today; it is more important than buying power,” he says.

‘Access is key to the market today—it is more important than buying power’ (The Art Newspaper)

Vanity Fair lets AA Gill loose on Frieze art fair with hilarious results. Of course, he hates every bit of it, except Gagosian’s booth and the Jeff Koons works within:

Frieze is a shuttle of the international art crowd: smug, bored, knowing. There are a lot of brand-new collectors here—they say Chinese is the new Russian. And thousands of art middlemen and -women, ready to explain and stroke and reassure. Because contemporary art isn’t easy. It’s not obvious. You need to be told. This stuff has to be—simply has to be!—better than it looks. The question that Frieze Masters poses to Frieze London is “Now, why are you so ugly?” But the really tough question is: What is an artist? And if you mention this to any of the actual moderators and mullahs in the contemporary tent, they roll their eyes and sigh. But still the question hangs like a terrible family secret. Because in the Masters tent the answer is obvious: An artist is a person who makes art. And you know he’s an artist because you can see the art. So the art validates the artist and the artist the art. But in the contemporary tent it’s not that simple, because it’s mostly conceptual. This isn’t about skill, or application, or craft, or ability. It’s about the concept, stupid. An artist is someone who thinks about art.

He also discovers that everyone else seems to hate art fairs too. Everyone but the buyers:

A contemporary-art dealer, someone who acquires for some of the most bullish and acquisitive collectors in the world, met me between steepling cliffs of childishly drawn, scribbled and dribbled abstracts, nailed-up bits of plastic, taxidermied animals, T-shirts printed with arty slogans, and a small bronze sculpture of someone taking a dump, and said—unattributably, of course—“You know, no one enjoys this. No one in the business likes doing business this way. It is the worst possible way to see art, but it is what the market wants. And, you know, when you leave here, you will remember nothing. Nothing will stick.” The concepts evaporate, to be re-assembled the next month in Basel or Venice or Miami or New York.

How a London Art Fair Created a Market for Rich People (Vanity Fair)