Laura Lancaster at Workplace Gallery (Nada). This is an interesting painter whose great promise can be seen in the one out of five paintings here that really works. But unlike most other 28-year-old artists selling work in galleries for $20,000 and $30,000 and up, it really looks like Laura Lancaster is on to something. Unlike many of her contemporaries, who will probably become dentists or take up something other than art-making, this young artist’s promise is exciting.

Myron Stout at Washburn Gallery. There are two beautiful paintings on view here. These paintings should be $2 million, and not Peter Doig's or Richard Prince's. What is wrong?

Joe Coleman at Arndt & Partner. No one really knows what to make of Joe Coleman. He is a brilliant man with a robustly compelling point of view and astounding dedication to his craft of painting. It takes me an hour to completely absorb each of his paintings.

Alberto Giacometti at Acquavella. Giacometti has few peers, but this is a bit of a disappointing painting: wet, limp, and unsatisfying. What one wants from his mysterious works just doesn’t come through in this one. I was still really glad to see it, though, and this gallery knows quality.

Agnes Martin at Pace. This painting shines, even with all of the people walking by and getting in the way (it was installed in the hall outside of the booth). Even the noise, vibration, heat, perspiration, and pushing and shoving of an art fair couldn’t kill this painting. What a magnificent artist. Why will people pay $2 million for a Doig (and I don’t mean to pick on him—he's a very good painter) when they could buy an Agnes Martin? I saw a work by each of them at the same price.

Michael Fullerton at Carl Freedman Gallery (Nada). This is a nearly inscrutable artist who can really paint. I love the portrait of the virginal Luftwaffe boy, and this dealer is a pleasure. He loves art, and he is happy as hell to talk about his artists. Reminds me of the old days.

Joaquim Tenreiro at R 20th Century. This relatively unknown designer/engineer/craftsman makes humble, graceful furniture that can rival some of the best sculpture of his time. AND YOU CAN SIT ON IT. Serious art buyers—that is, those with real curiosity and without advisers telling them what to do—will appreciate this work. And Evan Snyderman, the shopkeeper, is a committed, well informed advocate who is completely approachable and generous with his time. 

I am glad I came here. I have worked my ass off and have seen less than 10 percent of all the stuff, and I am tired as shit, but I can’t wait to keep looking tomorrow. I had dinner with Marc Spiegler a couple of weeks ago and I gave him this idea. I think he wasn’t taking me seriously, though, so I hope he reads this, and what I'm about to say he should keep up his sleeve. It goes like this: 

When all the rich guys decide that buying art isn’t as cool as they used to think it was, and they stop showing up at the fairs, you should offer incentives for them to come back. If you remember, there used to be a TV game show that offered a 90-second shopping spree in a grocery store. The bell rang and the lucky contestants had to sprint through the store and load up their baskets. Marc, you should hold a drawing one hour before the opening of the fair and award this honor to five people. Give them two minutes to gather up their stuff. This will kick-start the fair business after the guillotine has fallen. I’ll be there. And if I'd been given the chance this year, I know exactly where I would have gone. 

And to Sam Keller……GOOD LUCK. You are a gem.  

Respectfully (and yes, seriously) submitted,

Mickey Cartin

Sarah Douglas is staff writer for Art+Auction.