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9th annual New Art Dealers Alliance Miami Beach reports most successful year to date
The record high attendance consisted of high caliber collectors. Photo: Courtesy of Casey Kelbaugh.

MIAMI BEACH, FL.- The New Art Dealers Alliance presented its 9th annual NADA Miami Beach at the Deauville Beach Resort (6701 Collins Ave). The fair was widely praised by critics and exhibitors who have unanimously agreed that it was the fair’s most successful year to date. The record high attendance consisted of high caliber collectors including Susan and Michael Hort, Martin Z. Marguiles, Vito Schnabel, Mera Rubell, Adam Lindemann and a high volume of museum curators including Connie Butler, Scott Rothkopf, Paul Schimmel, Madeleine Grynsztejn, Klaus Biesenbach, Donna De Salvo, Jill Dawsey, Christopher Yew and Beatrix Ruf.

This was NADA’s third year at the Deauville Beach Resort and the fair expanded its footprint to 45,000 sq ft with the addition of Le Jardin Ballroom. This expansion allowed NADA to offer exhibitors an option of three booth sizes, giving them more scope in designing their presentations. NADA Director Heather Hubbs explained, “Our expansion into the third ballroom allowed for a larger booth option which enhanced the visitors experience of viewing the work.” Not to mention that the quality of the artwork presented at NADA Miami Beach this year was outstanding. “I’ve never seen so many visiting collectors express such pleasure when visiting an art fair.”

CANADA’s Phil Grauer attributed much of the fair’s success to its site. “We are exhibiting in this self- contained environment, right on the beach and in a venue that is connected to old world Miami. This is not a generic convention center space.” CANADA had previously exhibited with Art Basel Miami Beach and said that his decision to exhibit at NADA was a reflection of the NADA Board’s efforts at continuously improving the NADA fair and unlocking its vast potential. “There is real high quality work here and it is only getting better,” he continued. NADA Miami Beach is recognized as the preeminent fair featuring the world's most significant emerging art galleries.

Exhibitor Simon Preston, who sold out his booth on the fair’s opening day, agreed with Grauer’s sentiments, “NADA looks better than ever before.” Shane Campbell described his mood as “ecstatic” after selling paintings to board members of the Whitney and the Walker Art Center. “NADA can now be an autonomous fair, not a stepping stone to Art Basel Miami Beach. It is its own platform,” he said.

Eleven Rivington also had its best NADA fair ever and sold out their first hanging by the end of the opening day. “What's been great for us is that I feel that we've really nurtured many important relationships through the fair, having exhibited here several years. While these clients may not have a chance to come to NY often, we have been able to develop strong connections with them annually through NADA” explained owner Augusto Arbizo. “We were especially excited that work by Dave Miko and Tom Thayer were acquired by a major American museum.” In the opening hours of the fair Patrick Gibson of On Stellar Rays announced the extraordinary sale of the entire first edition of Clifford Owens’ Anthology, currently on view at PS1.

Another highlight of this year’s fair was NADA’s collaboration with Paddle8, which allowed collectors to preview exhibitor material a week before the fair opened. The site received over 100,000 views from 150 countries. "NADA in many ways was a perfect fair to work with, given the quality of the art and the exhibitors. We were pleased with the success of the collaboration, half of the participating galleries received offers and enquiries through Paddle8 in the preview week alone,” explained Alexander Gilkes, Paddle8’s CEO. Kathy Grayson of The Hole was thrilled with the partnership and described selling two $10,000 paintings through the site in the first hour that the works were available online.

Many critics were also quick to congratulate NADA on the continuation of its celebrated NADA Projects - an invitational developed to showcase new, innovative and idiosyncratic programs. One such program included this year was 'Creative Growth' the Oakland, CA not-for-profit organization that serves a community of mentally and developmentally disabled artists. This was the first time Creative Growth had participated in a contemporary art fair and by participating they were able to introduce their artists to new audiences and raise funds for artists and their programs.

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