LONDON
Alice Adams
Frieze Masters: Spotlight Section (Booth S02)
October 15 - 19, 2025
The Regent’s Park, London
The 2025 edition of Frieze Masters: Spotlight, in London, is a section dedicated to solo artist presentations of work made in the 20th Century, featuring 26 galleries and curated by Valerie Cassel Oliver (Sydney and Frances Lewis Family curator of modern and contemporary art, Virginia Museum of Fine Arts).
View the full press release here.
Alice Adams (b. 1930, New York) is best known for her site-specific land art installations and public projects that she made in the 80s and 90s for airports, university campuses, and transit systems in the United States. And yet, in the early 60s, Adams was working as a sculptor in New York City, utilizing her knowledge as a trained weaver while experimenting with new materials sourced from local hardware stores, lumber guards, or salvaged from the streets, such as wire mesh, latex, and foam rubber. In 1966, Lucy Lippard showed Alice Adams’ Big Aluminum 1 in Eccentric Abstraction, at the Fischbach Gallery, NY, a show that has since been recorded as a watershed moment in the history of advanced abstract sculpture. Adams' practice and contributions to "anti-form" abstraction from this period saw little recognition until just recently.
Alice Adams was recently exhibited in Abstract Erotic: Louise Bourgeois, Eva Hesse, and Alice Adams at The Courtauld in London (June 20 - September 24, 2025).
Zürcher Gallery's presentation Alice Adams: 1964-1970, includes two sculptural works that exemplify the artist’s interest in the relationship between flexibility and industrially fabricated materials: Latex Covered Foam Construction, 1970, which experiments with a grid-based composition and the tactile qualities of latex and foam rubber, and White Corner Cast, 1969, a piece from a series of works made by mounting a silastic resin onto an existing corner of a room to double the form and make it part of the architecture. This presentation also exhibits six works on paper that speak directly to Adams’ sculptural and structural sensibilities.