View of David Zwirner booth, Frieze Art Fair, London, 2017.
Leave or Remain, Trump or Clinton, terror, peace, boredom, or indifference: no matter where the world is at culturally, politically, socially, or existentially, there will always be another Frieze fair in early October. If last year's edition occurred within the shadow of a particularly pronounced period of political uncertainty, by now the cards have all been shuffled and we know where we're at (or more likely, where we're heading). But "art"—often thought of as a mirror of society at large—can feel particularly distorted in the art-fair setting: both figuratively, in terms of the forms and themes highlighted; and quite literally, as in any number of the inordinately large selection of selfie-ready mirror works that hang in wait. And selfie I did, in an untitled 2015 work by Isa Genzken at New York's David Zwirner that provided a low-tech, analog method of pixelization.