Mariane Ibrahim

I mean, the artist, Claire Pinovent, is an artist who used, you know, this sort of a vinyl.

And it was like an eruption of a volcano.

All of the works, it was like sort of drops.

It was like sort of a going down and everything was recovered and no one could see any of the work.

And I even recovered the entire table, the chair and everything.

And I left the booth.

I went to the VIP to have oysters.

That's it.

That's where I spent most of the time because there was a moment where I expressed some sort of a tiredness of not embracing these categories of artists.

I was a bit, you know, I wouldn't say upset, but I was like, OK, I'm going to even stress more that invisibility.

And I'm not going to show any.

I'm going to do the fair to not show any works.

Thinking back, I think it would be, in terms of what is going on today with the politics and the self-censorship, I think this booth would have been much more relevant today than it was 10 years ago.

But it concerned a particular subject rather than what is happening right now.

But that was the result that got me into the Armory show.

And I remember exchanging with the artist and I was like, Zora, there's a price.

We need to get the price.

And she's like, yeah, but what about the work?

We're fine.

It's okay if we don't sell, but we need to win the price.