See You at Frieze

February brings one of our favorite moments in the Los Angeles art calendar. From February 23–28, we’ll be on the ground for a full week of discovery, conversation, and connection around Frieze Los Angeles.

Join us for private, advisor-led walkthroughs designed to cut through the noise and focus on what truly resonates. Below, we’re also sharing a curated selection of standout works under $25,000 from Felix Art Fair and Frieze— thoughtful, compelling pieces for both new and seasoned collectors.

Beyond the fairs, we’re arranging private artist studio visits, intimate dinners, parties, and artist talks throughout the week. Get in touch and we are happy to share more details on our itinerary. 

To secure your space, please reach out to advisory@ryanartadvisory.com. We look forward to seeing you in LA.

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Under $25,000: Our LA Picks

Alessandro Teoldi

Tulipani e Casorati, 2025

Oil, charcoal, ink, pastels, fabric and linen collage mounted on linen

36 x 24 inches

$12,500

Marinaro | Felix Art Fair

Anne Buckwalter

Peach Pit, 2026

Gouache on panel

20 x 20 inches

$11,000

Uffner & Liu | Felix Art Fair

Madeline Donahue

Diving Practice, 2025

Oil on canvas

35 x 45 in

$15,000

Nina Johnson | Felix Art Fair

Courtesy of Nina Johnson and the artist. Photography by Frankie Tsyka

Jessica Taylor Bellamy

Linear Burn, 2025

Oil and acrylic on canvas

50 x 30 inches

$11,000

Anat Ebgi | Frieze Los Angeles 

Courtesy of the artist and Anat Ebgi (Los Angeles, New York)

Kour Pour

Sunscald, 2026

Acrylic and ink on canvas over panel

30 x 20 inches

$22,000

Olney Gleason | Frieze Los Angeles 

Courtesy the Artist and Olney Gleason, New York. Photography by Nik Massey.

Adam de Boer

Reconstruction Site no. 4 (Pacific Palisades Last Summer), 2026

Batik and oil paint on linen

56 x 91 inches (overall)

$20,000

Jane Lombard Gallery | Frieze Los Angeles  

Courtesy of the artist and Jane Lombard Gallery

Jake Longstreth

Untitled (Eucalyptus), 2024

Oil on Arches oil paper

16 x 24 inches

$15,000

Galerie Max Hetzler | Frieze Los Angeles 

Courtesy the artist and Galerie Max Hetzler Berlin | Paris | London | Marfa. Photography: Lucy Dawkins

Jake Longstreth

Untitled (Eucalyptus), 2024

Oil on Arches oil paper

24 x 16 inches

$15,000

Galerie Max Hetzler

Courtesy the artist and Galerie Max Hetzler Berlin | Paris | London | Marfa. Photography: Lucy Dawkins

Heather Day

Folding Sky No. 2, 2025

Mixed media on sewn canvas

57 x 74 inches

$24,000

Berggruen Gallery | Frieze Los Angeles  

Katherine Bradford

House That Light Touches, 2025

Acrylic on canvas

16 x 20 inches

$25,000

CANADA | Frieze Los Angeles 

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A Week in Paris

There are cities that inspire, and then there is Paris — a place that continually resets the eye and sharpens the senses. This past week offered that familiar yet ever-surprising rhythm: art, conversation, architecture, and the simple pleasure of moving through a city that treats culture as a living, daily practice.

This trip coincided with a personal milestone, my birthday, which made the experience all the more meaningful. Celebrating alongside dear friends and valued clients added a rare sense of overlap between the personal and professional — a reminder that at its best, this work is deeply relational. The week unfolded through shared discoveries, long meals, and the kind of unhurried exchanges that only seem possible in Paris.

A defining moment was attending a private opening for Titus Kaphar’s exhibition at Gagosian, Titus Kaphar: The Fire This Time. Titus’ work continues to challenge historical narratives with a visual language that is both incisive and deeply human. To gather in celebration of such a presentation — surrounded by artists, curators, collectors, and friends — was a powerful reminder of the role exhibitions play not just as displays, but as catalysts for dialogue. We were thrilled to run into our dear friend and artist Kennedy Yanko at the opening as well!

Another memorable moment was witnessing Claire Tabouret’s new designs of the windows for the Notre-Dame Cathedral at the Grand Palais. Tabouret was selected from more than 100 applicants to design six new stained-glass windows for Notre-Dame Cathedral, part of the extensive restoration following the 2019 fire. The cathedral reopened in 2024, and Tabouret’s window designs — large, vividly colored compositions centered on the theme of the Pentecost — are now on public view before the stained glass window planned installation later in 2026. Her commission marks a significant moment in her career, raising her profile beyond the art world. However, the project has sparked controversy. Though the existing 19th-century windows in six chapels survived the fire, they are being replaced with these contemporary works.

The week also included time with Philip Guston at the Musée national Picasso-Paris. Guston’s work remains startling in its psychological intensity and moral clarity. His late paintings, in particular, continue to feel urgent — oscillating between satire, vulnerability, and existential weight. Standing before them again underscored how profoundly his practice reshaped the possibilities of figurative painting.

Another cornerstone of the week was the expansive Gerhard Richter retrospective at the Fondation Louis Vuitton. Moving through decades of Richter’s work — from blurred photo-paintings to radiant abstractions and austere glass pieces — felt less like a traditional survey and more like an immersion into a lifelong interrogation of how we see and construct reality. A powerful throughline was the enduring impact of Richter’s early years in postwar Germany: the psychological weight of that history, and his persistent refusal to accept images or narratives at face value. His practice continually destabilizes certainty, oscillating between precision and dissolution, memory and erasure.

Between these anchor points, the days filled with multiple gallery visits across the city. Paris’s gallery ecosystem continues to demonstrate remarkable vitality: emerging voices presented with confidence, established artists shown with renewed perspective, and curatorial programs that balance scholarship with experimentation. Each visit carried its own energy, contributing to the larger mosaic of the week.

And, of course, Paris made itself known through its dining culture. Evenings were shaped by many memorable meals. These shared moments underscore why travel remains integral to our advisory approach. Time spent together in context — seeing exhibitions firsthand, engaging with artists and galleries, and continuing conversations beyond viewing rooms — strengthens relationships, sharpens perspective, and anchors collecting in lived experience rather than transaction alone.

Altogether, the week was a convergence of celebration and immersion. Moments of visual intensity balanced by reflection, historical grandeur paired with contemporary innovation, professional engagement intertwined with personal joy.