One of the most marvelous aspects of the Outsider Art Fair is the way in which much the work displayed is steeped in stories.
Outsider Art Fair
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What Is “Outsider” in Unthinkable Times?
Art’s uplifting power is unmistakably real; today, the works of the most original autodidacts feel more compelling than ever.
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From Curiosity to Institution: The Outsider Art Fair at 25
The 2017 edition of New York’s Outsider Art Fair will mark the 25th anniversary of what has become one of the international art market’s most distinctive, lively, and sometimes contentious forums for the presentation of often label-defying forms of artistic expression.
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Outsider Art Fair to Host Readings of Obama’s Words Beginning on Inauguration Day
Fair attendees, invited guests, and members of the public are invited to recite quotes from the President’s speeches, interviews, and other appearances.
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The Personal Passions and Detailed Devotions of the Outsider Art Fair
Now in its 24th edition, the Outsider Art Fair has found a new home this year at the Metropolitan Pavilion, currently filled with the fair’s largest number of exhibitors yet.
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Outsider Art Fair Preview: Discoveries, Surprises, and an Expanded Vision
The 24th annual Outsider Art Fair opens in New York on January 21, and never before has the scope of what might qualify as — or, more precisely, of what is being called — outsider art seemed so diverse or vast.
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Exploring an Expanded Field at the Outsider Art Fair
Nowhere can you feel the silliness (and yet cloying realness) of the term “outsider art” more distinctly than at the Outsider Art Fair, which, by its very nature, is an insiders’ affair.
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Going Inside: Outsider Art Fair 2014
After this year’s Outsider Art Fair, a Frieze Week corollary held at 548 West 22nd Street in Chelsea, closed on Sunday, the artist Mark Flood began taking over the space for an “Insider Art Fair” that opens today.
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Outsider Art Preview: Blurred Categories and Fairs Big and Small
Has the outsider art field become a victim of its own success? If so, it is a peculiar “victim,” and its success must be measured by standards that go beyond the money-obsessed art world’s primary criterion for determining aesthetic value — the price tag that any specific work happens to sport at any given time.