Matthew Slotover

It's a pretty open, rigorous process of galleries being judged by their peers.

Yeah, good question.

Amanda and I, our hearts are always with the young galleries and the new galleries.

Even now, when Kondo happens in January, we will spend all weekend going around

lots of young galleries and seeing what's going on.

And it was definitely part of it.

I think with the magazine, again, we were very excited about this group of artists, but we realised we can't just have a magazine about young London-based artists, you know, so...

The second issue had Richard Prince on the cover and there was a whole thing about Glasgow in it.

And, you know, we went international quite quickly.

We got a US editor, you know, after six months because we realised you've got to contextualise these artists in a wider context, in a context with bigger names, with more international names.

If it's all about the new young scene, it's a bit too much for people to handle.

And people get stuck in this rut of like, well, you're a young artist, you're a young gallery.

So I think contextualizing is very important.

I think the first year of the fair, we mixed up the big galleries and the small galleries.

So we had this young gallery from New York, Michel Macaron, next to Leslie Waddington, who was kind of the oldest gallery in London.

And we thought that was really fun.

But then we realized it was actually difficult for people to navigate and they prefer to go to one section, see the young galleries together and see the big galleries in another part.

So that's a shame that didn't last.

But that was definitely the idea of discovery within a context of the whole art world, both geographically and individually.

Yeah.