Frieze Seoul

Hauser & Wirth returns to Frieze Seoul this year with a presentation of exceptional works spanning multiple generations. Master works by Louise Bourgeois will feature alongside leading international contemporary voices, including Rita Ackermann, Larry Bell, Mark Bradford, George Condo, Jeffrey Gibson, Christina Kimeze, Lee Bul, Angel Otero, Gary Simmons and Avery Singer.

Coinciding with the fair, several artists are having major museum and institutional exhibitions in the city, including Mark Bradford at Amorepacific Museum of Art, Lee Bul at Leeum Museum of Art, and Louise Bourgeois at Hoam Museum of Art.

In Louise Bourgeois’s intimately scaled bronze sculpture ‘Topiary’ (2005), the female figure is merged with elements from the natural world. The work is shown alongside a selection of Bourgeois’s works on paper, such as ‘What You Look Like’ (2007), shedding light on her innovative approach to printmaking in the late stages of her career.

New works debuting at the fair include a triptych by Mark Bradford, ‘Okay, then I apologize’ (2025), George Condo’s ‘Purple Sunshine’ (2025), Jeffrey Gibson’s ‘the ability to move inside and outside, up and down, side to side’ (2025), Christina Kimeze’s ‘Figures of eight (III)’ (2025), Angel Otero’s ‘The Ocean Forgot Your Garden’ (2025) and Avery Singer’s ‘Poker Players (study)’ (2025).

Mark Bradford’s mixed media work ‘Okay, then I apologize’ (2025) is composed of three monumental canvases with a combined span of over ten feet. Resembling an abstracted view of the cosmos, it builds on Bradford’s interest in mythology.

Lee Bul’s ‘Untitled (Cyborg—Velvet #23)’ (2019) presents a headless female cyborg form, suspended and adorned in luxurious velvet, interrogating ideals of technological perfection. With its crystalline, fragmented forms, ‘Untitled Sculpture (W6-1)’ (2010) is a variation of her Sternbau series where she utilizes architectural structures to explore the theme of utopian modernity and the rise and fall of progressivist projects.

Striking in both composition and chromatic intensity, ‘Purple Sunshine’ (2025) exemplifies George Condo’s distinct approach to portraiture, reimagined through formal fragmentation and expressive distortion.

Avery Singer’s ‘Poker Players (study)’ (2025) is a preparatory work for a larger painting of the same name, reflecting her ongoing exploration of the intersections between gambling, finance and technology, and the decentralized structures of peer-to-peer networks and crypto communities.