These members of a globally significant art community set the high standard of the fair, ensuring you can buy from our artists with the confidence that you are investing in the best of emerging talent.
Rebecca Wilson is Chief Curator and Director, Art Advisory at Saatchi Art. She was formerly a Director at the Saatchi Gallery, London, where she was instrumental in the launch of the gallery's online presence. In 2007 she created New Sensations, a prize for art students which identifies and supports the most exciting emerging artists in the UK. Prior to joining the Saatchi Gallery, Rebecca worked for 14 years in book and art magazine publishing: she was editor of ArtReview, and before that deputy editor of Modern Painters. She has over 10 years of experience working with emerging artists.
With more than 15 years of experience at the intersection of arts, culture, and community development in the public realm, Solana Chehtman is currently the Associate Director of Public Engagement at Friends of the High Line, the conservancy that maintains, operates and programs the High Line park. There, she is responsible for cultivating and engaging New Yorkers through curating and producing free, unique, dialogue-initiating cultural experiences, reflective of diverse voices, and relevant to different publics.
Throughout her career, Solana has worked with different organizations, both in her country of origin, Argentina, and in New York -including Creative Time, the New Museum's Ideas City Festival, Tribeca Film Institute, among others- with the ultimate goal of advancing cultural equity.
Elizabeth Ferrer is Vice President, Contemporary Art at BRIC, a not-for-profit cross disciplinary organization based in downtown Brooklyn that presents diverse cultural programming while also providing substantial support to artists and media makers. Its contemporary art program is the oldest in Brooklyn. At BRIC since 2007, she has curated numerous solo and group exhibitions, primarily of emerging and mid-career Brooklyn-based artists. In 2014 she launched a major exhibition initiative, the BRIC Biennial, which recently had its second edition in 2016, focusing on Bedford Stuyvesant and Crown Heights-based artists.
In addition to her work at BRIC, she is a leading specialist of Latino art and photography who has curated shows seen at such venues as the Mexican Cultural Institute and the Smithsonian Institution in Washington, D.C., at El Museo del Barrio and UBS Art Gallery in NY, and at museums across the United States. She has authored books and catalogues published by the Aperture Foundation, the University of Texas Press, and other publishers. Ferrer frequently serves on panels for public commissions of artworks and for artist residencies and grants. www.bricartsmedia.org
Rachel Miller is contributing editor at Brooklyn Magazine, where she writes about art. Rachel has also written for Tom Tom Magazine, The Guardian, Huffington Post, and Art Observed. Before that, she managed a short-lived gallery on the Lower East Side called Parade Ground and worked on the Scripted Programming team at Tribeca Film Institute. She lives in Ridgewood, Queens .
Peter MacGill is the president of Pace/MacGill Gallery, New York, which was founded in 1983 by Arnold Glimcher of Pace Gallery, Richard Solomon of Pace Editions, and Peter MacGill. The gallery represents the Estates of Richard Avedon, Harry Callahan, William Christenberry, Peter Hujar, Irving Penn and Garry Winogrand, as well as the work of Robert Frank, Lee Friedlander, David Goldblatt, Emmet Gowin, Paul Graham, Josef Koudelka, Richard Learoyd, Richard Misrach, Michal Rovner and Kiki Smith, among others.
Pace/MacGill Gallery strives to disseminate the work of its artists to museums, private collectors and corporate collections worldwide, and has become the leading organizer of transactions to place major private collections and/or archives into public institutions.
MacGill was the director of LIGHT Gallery, New York, and graduated with a BFA from Ohio Wesleyan University in 1974 and an MFA from the University of Arizona in 1977, where he was the first student to graduate from the MFA Photography program.
Matthew Nichols is associate professor at Christie’s Education in New York, where he mainly oversees the program’s commitment to connoisseurship and object-based learning. A specialist in modern and contemporary American art, he has also taught art history at The New School. Matthew’s critical writing has appeared in Art in America, Art on Paper, Photograph, and other publications. He recently curated “Heliotropes” for Geary Contemporary, a group show of emerging artists who explore solar phenomena.