Dempsey some were optimistic about the feedback, like The Green Gallery from Milwaukee (in the fair’s Exposure section for emerging galleries) while a few other out-of-towners seemed less confident.īy 7pm the aisles started to fill with artists, art appreciators, dealers, collectors and the occasional local and/or art-world celebrities. Some EXPO dealers were happy to announce sales in these early hours, like Chicago’s Corbett vs. The press rolled into Vernissage around 3pm, followed at 4pm by the “patrons” at $400-$600 a ticket, and while the aisles felt rather empty for the first few hours, I was repeatedly assured that the folks with money indeed were here, and presumably the money and art were changing hands. The galleries, many of whom haven’t been to Chicago in years, decades or even ever, brought with them the best of what they have. In many opinions, Tony Karman and his fair have already succeeded on a number of fronts: EXPO’s Studio Gang interior is beautiful, the art is amazing, the food rocks and the people came. “It feels like the old times,” former Chicago art dealer Melanee Cooper told me last night at EXPO’s Vernissage, “but it feels fresh at the same time”-a sentiment I heard echoed almost word-for-word throughout the opening night.
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