The second annual Asian Contemporary Art Fair (ACAF) convened in New York for a few days in early November—days of almost non-stop indulgence in the ultra-modern as well as in handkerchief waving to the ghosts of the avant-garde.
Located on a pier over the Hudson River at a particularly unprepossessing intersection on the far west end of midtown Manhattan (directly across the street from Larry Flynt’s Hustler Club—surely a must-see on every art-lover’s itinerary—with its fake acropolis on a low-rise building of mostly boarded-up windows), ACAF drew exhibitors from all over the globe: Tokyo, London, Madrid, Paris, Geneva, Dhaka, Dubai, and beyond. And while it’s true that the Fair represented artists from South Korea, Japan, Bangladesh, India, Vietnam, and the Philippines as well as from Kazakhstan, Iran, and Turkey, it was, in fact, China’s show nearly all the way. At least in quantity.
I arrived the afternoon of November 6, just in time for ACAF’s “media preview,” which turned out to be a euphemism for unguided tour. Continue reading “Something Remembered: ACAF Impressions”