For the 2025 edition of Frieze Masters, Ortuzar is pleased to present a focused selection of paintings and sculptures by artists associated with the gallery’s program. Bringing together major works by Gertrude Abercrombie, Lynda Benglis, Dorothy Iannone, Suzanne Jackson, Akinsanya Kambon, Agnes Martin, Mira Schendel, Sylvia Sleigh, Takako Yamaguchi, and Megumi Yuasa, among others, the presentation traces shifting modes of abstraction and representation, feminist and political interventions, and the diverse ways artists have grappled with identity, intimacy, and social change.

Anchoring the presentation is Agnes Martin’s Untitled #16 (1988), a rare, never-before-exhibited canvas in her signature six-foot square format, adopted after 1974 to mirror the scale of the human body. Structured in alternating bands of white and gray, the composition extends Martin’s decades-long engagement with the grid, as horizontal graphite lines generate a meditative rhythm softened by slight irregularities that register the artist’s hand. Also on view is Lynda Benglis’s Quebec (1974), an early example from her celebrated knot series. For Benglis, the knot—likened to embryos and plants—embodies a universal form and primordial symbol, giving physical shape to her inquiry into the nature of form.

The presentation further highlights landmark works by artists currently the subject of major museum exhibitions. Suzanne Jackson’s Rainbow Shine (1974), a large, double-diamond shaped canvas, merges figuration and abstraction in the dreamlike atmospheres of her mid-1970s practice. Its inclusion coincides with the artist’s major retrospective at SFMOMA, which will travel to the Walker Art Center and the Museum of Fine Arts, Boston. Takako Yamaguchi’s As It Actually Happened (2003) continues her exploration of water—clouds, rain, streams, and oceans—rendered as intricate abstractions. Transforming seascape into something both familiar and otherworldly, the work’s inclusion coincides with MOCA Focus: Takako Yamaguchi, the artist’s first solo museum exhibition in Los Angeles.

As a prelude to forthcoming programming, the presentation introduces Akinsanya Kambon and Megumi Yuasa. Kambon’s ceramic sculptures—marking his debut with the gallery—illuminate African histories, spiritual traditions, and narratives of resistance. Surfaces wrapped in narratives of revolution, resilience, and ritual underscore his transformation of clay into storytelling devices. Their presentation follows his receipt of the Hammer Museum’s Mohn Award at the Made in L.A. Biennial and anticipates a major solo exhibition at SculptureCenter in May 2026, with a forthcoming monograph. The presentation also features a rare sculpture by Megumi Yuasa, whose ceramic forms, marked by radiant glazes and sensuous organic shapes, merge East Asian craft traditions with Brazilian sculptural modernism. Its inclusion offers a prelude to Yuasa’s forthcoming solo exhibition at the gallery in March 2026—his first ever in New York—which will survey four decades of his practice.

A final section of the presentation foregrounds artists who reimagined Pop beyond its familiar American idiom. Allan D’Arcangelo’s Caution! Soft Shoulders (1963) transforms road signs into hard-edged icons of postwar America, subverted by the surreal apparition of a nude figure on the highway. Peter Stämpfli’s Bac à vaisselle (1964) magnifies the everyday act of washing dishes into a monumental grisaille, elevating domestic labor into subject matter of epicscale. Paintings by Dorothy Iannone and Sylvia Sleigh likewise adapt Pop’s immediacy to explore erotic figuration and feminist portraiture. Sleigh’s brightly hued, stylized portraits—on view here following Ortuzar’s recent solo exhibition, the first devoted to the artist’s work in New York in over fifteen years—employ wit and parody to upend gendered conventions of portraiture. Together, these works underscore the gallery’s commitment to reexamining canonical movements through a broader lens, amplifying artists whose contributions continue to reshape the narrative of modern and contemporary art.