The Other Art Fair Brooklyn, presented by Saatichi Art took place November 6–9, 2025. This marked the 16th edition of the fair, which each year strives to surprise audiences with fresh perspectives, highlight emerging trends, and showcase the most current voices in contemporary art. Always attuned to what is new, urgent, and resonant in the creative world, the fair has become a barometer for the vitality of independent artistic practice.

Artmag spoke with Emily-Jean Alexander, Director of The Other Art Fair Brooklyn, to unpack this edition- an event that felt less like a marketplace and more like a litmus test for how independent artists navigate visibility today.

Energy and New Voices

Artmag: The Brooklyn edition of the fair has just concluded. What stood out to you personally, and which new ideas or elements did you aim to highlight in this 16th edition?

Emily-Jean Alexander: What stood out most was the incredible energy that comes from bringing together our local creative community with a fresh cohort of artists. Each Brooklyn edition is intentionally curated to feature a strong base of New York artists, while ensuring that at least 50% of exhibitors are new to the fair. Seeing first-time participants like John P. Dessereau, Bryan Cordova, and Steven Jackson not only show their work but also bring their communities into the fair was especially meaningful.

This year, we really felt how much connecting directly with independent artists matters to people. In a moment when many feel a lack of control, engaging with and supporting local talent has become a small but powerful act of resistance. We wanted this edition to celebrate artists rooted in their neighborhoods, uplift new voices, and create a space where visitors can form real, impactful relationships with the artists behind the work.

Balancing Monumental and Intimate Works

Artmag: This year, the centerpiece installations included the monumental Splendour by Atelier Sisu and kinetic works by Hypersonic. How do you navigate the tension between immersive, large-scale projects and the more intimate works of independent artists?

Emily-Jean Alexander: Part of what makes us The Other Art Fair is the intentional juxtaposition we create—inviting visitors to have personal conversations with independent artists while also immersing them in works that challenge perceptions of how art can be experienced. The contrast is very much the point; it reflects the breadth and ambition of contemporary artistic practice.

With larger installations this edition, our hope was that visitors would slow down and engage more deeply—look up, pause, observe movement, even try to decode interactive pieces. When installations spark curiosity or shift perspectives, people often carry that mindset into their conversations with exhibitors. Ultimately, if these works open people to new ideas, they approach connecting with artists—and even purchasing artwork—with a refreshed lens.

History, Humor, and Engagement

Artmag: The Main Bar was transformed into The (Brooklyn) Cloisters, where historical references intersected with contemporary art. How do you see history and culture shaping audience engagement?

Emily-Jean Alexander: A history teacher once told me, “Question everything,” and that spirit guides how we bring historical references into contemporary settings, often in playful ways.

With The (Brooklyn) Cloisters, artists Richard Hoffman and Adam Rose paid homage to The Met Cloisters, but with a tongue-in-cheek twist. Nobody anticipated a reimagining that included a replica of the men’s washroom alongside nods to modern LGBTQ+ and street graffiti culture. That blend of reverence and humor created space for reflection and laughter, allowing audiences to engage with contemporary work through a new cultural and historical lens.

Artist Selection and Market Dynamics

Artmag: Selecting 130 artists is no small task. Which factors matter most: innovation, commercial potential, or the ability to captivate visitors? How do you balance artistic integrity with market pressures?

Emily-Jean Alexander: Selection is always layered. We rely on our internal team and a committee of local art-world professionals. There’s no single metric; we look for balance across mediums, subject matter, and perspectives to reflect contemporary practice’s diversity and dynamism.

Commercial potential is considered, as artwork sales are key to the fair’s ecosystem. The balance comes from upholding artistic integrity while being realistic about the market: we champion bold, compelling work that captivates visitors and can find its home with collectors.

Spotlight on Emerging Talent

Artmag: Evelyn Gardiner, this year’s New Futures Award winner, creates works intertwining nature and spirituality. What sets her apart among emerging artists?

Emily-Jean Alexander: Gardiner’s distinctive use of iconography and traditional religious art formats modernized through a contemporary lens sets her apart. The overt spirituality and symbolism in her work create striking presence, blending reverence with reinvention. She weaves nature, sacred imagery, and personal mythology into a practice that feels entirely her own, which strongly resonated with the New Futures selection panel.

Collector Engagement and Trends

Artmag: How did sales perform this year? Any notable highlights or emerging collector trends?

Emily-Jean Alexander: We’re thrilled with sales. Opening Night set a new record, and overall, the fair ranks among the top 10 globally, with over 92% of artists making sales.

The Blind Date with an Artwork feature was especially popular: visitors purchased works unseen, guided only by a description, with all pieces under $200. It sold out quickly, showing how collectors embrace discovery. Top-selling artists included Xan Padrón, Bella Wattles, Yelena Lezhen, and Vanessa Valero, with many booths nearly sold out. Collectors engaged with both emerging and returning artists, embracing work that is unique, accessible, and personally meaningful.

Disrupting the Art World?

Artmag: The Other Art Fair is often presented as an alternative to galleries and major art markets. Does it genuinely disrupt the established hierarchy?

Emily-Jean Alexander: The fair was founded in 2011 to challenge traditional models. Fourteen years and over 100 fairs later, we’ve established a high-caliber alternative. Today, being The Other is less about opposition and more about programming: artist selection, immersive installations, accessible pricing, and interactive experiences. We aim to create an environment where discovering independent, compelling, and unconventional art is central.

Looking Forward

Artmag: Finally, what does the future hold? Are there new initiatives to surprise and engage audiences?

Emily-Jean Alexander: We’re focused on deepening hyperlocal engagement between artists and audiences. We’re also examining what buying art truly means today—what’s missing in the direct artist-to-collector experience—and finding ways to serve those needs. Our goal is to create experiences that surprise, connect visitors with independent art meaningfully, and evolve how collectors interact with and support artists.