{"id":1662,"date":"2022-09-12T16:25:56","date_gmt":"2022-09-12T08:25:56","guid":{"rendered":"https:\/\/www.atelierauction.com\/globalupdates\/?p=1662"},"modified":"2022-09-12T16:35:25","modified_gmt":"2022-09-12T08:35:25","slug":"the-best-booths-at-independent-20th-century-from-surrealist-visions-to-powerful-scenes-confronting-trauma","status":"publish","type":"post","link":"https:\/\/www.atelierauction.com\/globalupdates\/artist\/the-best-booths-at-independent-20th-century-from-surrealist-visions-to-powerful-scenes-confronting-trauma\/","title":{"rendered":"The Best Booths at Independent 20th Century, From Surrealist Visions to Powerful Scenes Confronting Trauma"},"content":{"rendered":"<p class=\"paragraph larva \/\/ a-font-body-m \">Independent 20th Century\u2014the newest venture from the Independent art fair\u2014makes a compelling argument that the typical fair set-up, a multi-story sprawl of the art historical canon, needs rethinking. There are just 32 booths featuring famous and unfamiliar 20th-century artists. It unfolds over a single floor of the Battery Maritime Building, steps from the Staten Island Ferry send-off. It\u2019s intimate and tightly curated, and a blessed departure from\u00a0<a href=\"https:\/\/www.atelierauction.com\/globalupdates\/\" data-type=\"pmc_list\" data-id=\"1234638738\">Spring\/Break<\/a>\u00a0and the\u00a0<a href=\"https:\/\/www.atelierauction.com\/globalupdates\/\" target=\"_blank\" rel=\"noreferrer noopener\" data-type=\"pmc_list\" data-id=\"1234638841\">Armory Show<\/a>, which both opened this week.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m \">The baseline of quality here is high, chock-full of highlights, and many galleries matched the unusual circumstances with ambitious offerings. Below, a look at six stellar artists getting their due there.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m \"><span style=\"color: #111111; font-family: Roboto, sans-serif; font-size: 27px;\">1.Juanita McNeely at James Fuentes\u00a0<\/span><\/p>\n<div id=\"pmc-gallery-vertical\">\n<div class=\"c-gallery-vertical\">\n<div class=\"c-gallery-vertical__slides\">\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234639074\" data-slide-index=\"0\" data-slide-position-display=\"1\">\n<article class=\"c-gallery-vertical-featured-image\">\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer aligncenter\" style=\"box-sizing: border-box; border: 1px solid rgba(204, 204, 204, 0.2); max-width: 100%; height: auto; background: linear-gradient(90deg, #f6f7f8 0px, #d2d2d2 20%, #f6f7f8 40%, #f6f7f8) 0% 0% \/ 200% 100% #f6f7f8; animation-name: shimmer; animation-duration: 1s; animation-iteration-count: infinite; animation-timing-function: ease-in-out; vertical-align: bottom; transition: opacity 0.2s ease 0s; margin: auto; width: 792px;\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/f949c5a67b223416c99f8369f35d5b37.jpeg?w=407\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 521px, (max-width: 1440px) 521px, (max-width: 2560px) 521px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/f949c5a67b223416c99f8369f35d5b37.jpeg?w=163 163w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/f949c5a67b223416c99f8369f35d5b37.jpeg?w=325 325w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/f949c5a67b223416c99f8369f35d5b37.jpeg?w=407 407w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/f949c5a67b223416c99f8369f35d5b37.jpeg?w=521 521w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/f949c5a67b223416c99f8369f35d5b37.jpeg?w=694 694w\" alt=\"&lt;!-- wp:pmc\/featured-media \/--&gt;\" width=\"390\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Courtesy of James Fuentes, New York<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">Perhaps the most splendid display in the fair is the first encountered: boldly colored figurative works which bend toward the surreal. This is a solo presentation of American feminist painter Juanita McNeely, who calls to mind the symbolic figuration of Frida Kahlo and Paula Rego. These women are twisted, elongated, sensual but searching for more than a bedmate\u2014there\u2019s a palpable desire for connection that\u2019s met in many canvases by violence. Some of her subjects bear bite wounds from birds and dogs, some of which bark and wrestle\u2014play?\u2014at her feet. She\u2019s an animal too, crouched, naked, and feral, and brandishing phallic-like forms as trophies. The last impression is one of bright crimson blood, gushing from wounds and orifices. It\u2019s thrilling to imagine a whole fair subsumed by this energy.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><span style=\"color: #111111; font-family: Roboto, sans-serif; font-size: 27px;\">2.Barbara Levittoux-\u015awiderska at Richard Saltoun\u00a0<\/span><\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234639085\" data-slide-index=\"1\" data-slide-position-display=\"2\">\n<article class=\"c-gallery-vertical-featured-image\">\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer aligncenter\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/8b7923f45444ed3e79eebacb8ad72452.jpeg?w=452\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 579px, (max-width: 1440px) 579px, (max-width: 2560px) 579px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/8b7923f45444ed3e79eebacb8ad72452.jpeg?w=181 181w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/8b7923f45444ed3e79eebacb8ad72452.jpeg?w=362 362w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/8b7923f45444ed3e79eebacb8ad72452.jpeg?w=452 452w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/8b7923f45444ed3e79eebacb8ad72452.jpeg?w=579 579w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/8b7923f45444ed3e79eebacb8ad72452.jpeg?w=754 754w\" alt=\"Barbara Levittoux-\u015awiderska, Drops [Krople], 1974.\" width=\"434\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Copyright Estate of the Artist, Courtesy of Richard Saltoun Gallery London and Rome.<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">The elegant textile works of Polish artist Barbara Levittoux-\u015awidersk are the star of Richard Saltoun\u2019s booth. Spanning six decades of her practice, it follows the underknown artist\u2019s innovations in form, texture, and composition, from delicate collages on paper and card, to her masterpieces: wall hangings loosely woven from thick sisal that evoke rushing water. It\u2019s a welcome visual departure from the painting that dominates this edition of the fair. These crisp homages to nature are a nice contrast to her early, more restrained works, minimalist cityscapes in which the night sky, polluted by urban noise and light, hides its stars.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><span style=\"color: #111111; font-family: Roboto, sans-serif; font-size: 27px;\">3.Stanislao Lepri at Galleria Tommaso Calabro<\/span><\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234639083\" data-slide-index=\"2\" data-slide-position-display=\"3\">\n<article class=\"c-gallery-vertical-featured-image\">\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer aligncenter\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/8c3ba7e4aebd0899dc4ef4bdf898a12a.jpeg?w=452\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 578px, (max-width: 1440px) 578px, (max-width: 2560px) 578px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/8c3ba7e4aebd0899dc4ef4bdf898a12a.jpeg?w=181 181w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/8c3ba7e4aebd0899dc4ef4bdf898a12a.jpeg?w=361 361w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/8c3ba7e4aebd0899dc4ef4bdf898a12a.jpeg?w=452 452w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/8c3ba7e4aebd0899dc4ef4bdf898a12a.jpeg?w=578 578w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/8c3ba7e4aebd0899dc4ef4bdf898a12a.jpeg?w=753 753w\" alt=\"Stanislao Lepri, Le cr\u00e9ateur des anges, 1969.\" width=\"433\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Courtesy of Galleria Tommaso Calabro<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">A man in a red cloak unbuttons his garment, releasing a flock of angels. Elsewhere, people hatch from eggs. These are just two surrealist visions put to paint by Stanislao Lepri, who is given a solo presentation by Galleria Tommaso Calabro. Born in 1950 in Rome, the eccentric aristocrat was lauded in his lifetime for his art, which drew inspiration from the cultural past of Rome, as well as Biblical and classical myths. Here, humor and excess are offset by the blight of Fascism and World War II. There\u2019s no need for a coherent narrative, it\u2019s obvious we\u2019re visiting the ground floor of an electrified mind.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><span style=\"color: #111111; font-family: Roboto, sans-serif; font-size: 27px;\">4.Robert Duran at Karma<\/span><\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234639081\" data-slide-index=\"3\" data-slide-position-display=\"4\">\n<article class=\"c-gallery-vertical-featured-image\">\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer aligncenter\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/be5cb5d4c90d5fecf144fccead3c2416.jpeg?w=790\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1011px, (max-width: 2560px) 1011px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/be5cb5d4c90d5fecf144fccead3c2416.jpeg?w=316 316w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/be5cb5d4c90d5fecf144fccead3c2416.jpeg?w=632 632w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/be5cb5d4c90d5fecf144fccead3c2416.jpeg?w=790 790w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/be5cb5d4c90d5fecf144fccead3c2416.jpeg?w=1011 1011w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/be5cb5d4c90d5fecf144fccead3c2416.jpeg?w=1280 1280w\" alt=\"Robert Duran, Untitled, 1977.\" width=\"757\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Courtesy the Estate of Robert Duran and Karma<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">Tucked into a corner of the fair is Karma\u2019s booth, dedicated to the paintings of Robert Duran which exist as a rebuke to Donald Judd\u2019s declaration in his famed 1965 essay \u201c<a href=\"https:\/\/www.atelierauction.com\/globalupdates\/\">Specific Objects<\/a>\u201d: \u201cActual space is intrinsically more powerful and specific than paint on a flat surface.\u201d It sounds like an oxymoron, but this is Minimalism at monumental scale, proving the power of a few bold lines. Duran employs the hallmarks of the movement\u2014like a minimal grid\u2014but also subverts them, with a ripe color palette and a conscientious brushstroke. The border of each block softens and melts into the next, like the gradient of an alien sun setting over the sea.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><span style=\"color: #111111; font-family: Roboto, sans-serif; font-size: 27px;\">5.Francisco \u201cChico\u201d da Silva at Galatea<\/span><\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234639079\" data-slide-index=\"4\" data-slide-position-display=\"5\">\n<article class=\"c-gallery-vertical-featured-image\">\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer aligncenter\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/a6cc7d75cf28c64ab7bf34b7954af6dd.jpeg?w=729\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 933px, (max-width: 2560px) 933px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/a6cc7d75cf28c64ab7bf34b7954af6dd.jpeg?w=291 291w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/a6cc7d75cf28c64ab7bf34b7954af6dd.jpeg?w=583 583w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/a6cc7d75cf28c64ab7bf34b7954af6dd.jpeg?w=729 729w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/a6cc7d75cf28c64ab7bf34b7954af6dd.jpeg?w=933 933w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/a6cc7d75cf28c64ab7bf34b7954af6dd.jpeg?w=1244 1244w\" alt=\"Chico da Silva (Francisco Domingos da Silva), \u00c1gua viva e piranhas [Jellyfish and piranhas], late 1950s.\" width=\"698\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Photo: Ding Musa, courtesy of Galatea<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">It\u2019s astonishing that this is the first major solo presentation outside of Brazil in more than half a century for\u00a0Francisco \u201c<a href=\"https:\/\/www.facebook.com\/AtelierAuctionsg\">Chico<\/a>\u201d da Silva, one of the country\u2019s first self-taught artists to receive acclaim. This was a man who viewed the world through a kaleidoscope: folkloric beings cavort in the sea and flit through an Amazonian jungle of pulsing pointillism. Born in 1910 to Indigenous Peruvian parents in northeastern Brazil, Chico spent his childhood living in the rainforest. Some of his earliest pigments are produced from charcoal, fruits, and \u201c<a href=\"https:\/\/www.facebook.com\/AtelierAuctionsg\">other organic substances<\/a>,\u201d according to S\u00e3o Paulo\u2013based gallery Galatea, which has been instrumental in his revival. Once one of the most celebrated artists in Brazil, his name has largely fallen into obscurity; the last significant surge of interest in his work was ignited by an honorable mention at the 33rd Venice Biennale in 1966.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><span style=\"color: #111111; font-family: Roboto, sans-serif; font-size: 27px;\">6.Paul Gard\u00e8re at Soft Network<\/span><\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234639076\" data-slide-index=\"5\" data-slide-position-display=\"6\">\n<article class=\"c-gallery-vertical-featured-image\">\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/e13fbf2bec630c6ad11ada5d574b2a00.jpeg?w=800\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1024px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/e13fbf2bec630c6ad11ada5d574b2a00.jpeg?w=320 320w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/e13fbf2bec630c6ad11ada5d574b2a00.jpeg?w=640 640w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/e13fbf2bec630c6ad11ada5d574b2a00.jpeg?w=800 800w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/e13fbf2bec630c6ad11ada5d574b2a00.jpeg?w=1024 1024w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/09\/e13fbf2bec630c6ad11ada5d574b2a00.jpeg?w=1280 1280w\" alt=\"Paul Gard\u00e8re, First Letters, 1987.\" width=\"902\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Courtesy of Soft Network and the Estate of Paul Gard\u00e8re<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">Paul Gard\u00e8re, a Haitian-born artist who spent most of his life in the United States, said in a 1999 interview that the diaspora experience was captured in his work by\u00a0<a href=\"https:\/\/www.facebook.com\/AtelierAuctionsg\">\u201ca sense of not being in a specific space or time but rather in a cultural bubble flying in a high wind<\/a>.\u201d His life story unfolds over a series of paintings, collages, and works on paper in a similar way. The subject slips between private moments, epochs in Haitian history, and first-hand accounts of the Harlem Renaissance. He developed an iconographic language anchored by the interplay between Krey\u00f2l identity and the history of modernism, in the process investigating the colonial context of each. These are restless works by someone who dedicated themselves to a question\u2014how to exist between worlds\u2014that has no easy reconciliation.<\/p>\n<\/div>\n<\/article>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>Source: https:\/\/www.artnews.com\/<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Independent 20th Century\u2014the newest venture from the Independent art fair\u2014makes a compelling argument that the typical fair set-up, a multi-story sprawl of the art historical canon, needs rethinking. There are just 32 booths featuring famous and unfamiliar 20th-century artists. It unfolds over a single floor of the Battery Maritime Building, steps from the Staten Island [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":1663,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[5,13,7,4,3],"tags":[],"class_list":{"0":"post-1662","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-artist","8":"category-auction","9":"category-events","10":"category-gallery","11":"category-latest-news"},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.9 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>The Best Booths at Independent 20th Century, From Surrealist Visions to Powerful Scenes Confronting Trauma - Investable Art Auctioneer<\/title>\n<meta name=\"description\" content=\"Independent 20th Century\u2014the newest venture from the Independent art fair\u2014makes a compelling argument that the typical fair set-up, a multi-story sprawl of the art historical canon, needs rethinking.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.atelierauction.com\/globalupdates\/artist\/the-best-booths-at-independent-20th-century-from-surrealist-visions-to-powerful-scenes-confronting-trauma\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Best Booths at Independent 20th Century, From Surrealist Visions to Powerful Scenes Confronting Trauma - 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