The one non-L.A. gallery at the fair is Mexico City’s Galería OMR, which appears this year for the second time. The gallery was also one of few to bring digital work. Occupying a highly visible spot in the booth is a piece by Rafael Lozano-Hemmer, who represented Mexico at last year’s Venice Biennale. A surveillance camera mounted in the booth captures pixelated images of fair visitors that then explode into a mosaic of fractured pieces on an adjacent LCD monitor in an homage to Michelangelo Antonioni’s 1966 film Blow-Up. Of the edition of six, three sold for $90,000 apiece during the preview.

“Even though we have two or three artists from our stable based in L.A., it’s not like we have this super-close relationship between us and Los Angeles,” said Pamela Echeverría, one of OMR’s directors. “But you cannot be Mexican without having some connection to L.A.”

Editor's note: The original version of this article mistakenly attributed Alejandro Diaz's work to Alexandre Arrechea. We regret the error.