BEST 

1. The funniest and most engaging work in the fair is the multiscreen video project "The Upstate Olympics" by Tim Davis at the Greenberg Van Doren Gallery booth.

2. With its penny floor by Ry Rocklen and stacked silkscreen paintings by Andrew Hahn, Untitled Gallery has provided an apt reflection of the fair environment: a warehouse of work propped up by a bed of money.

3. Alison Jacques Gallery deserves praise for its single-artist installation of lush, dark paintings by Ryan Mosley.

4. At Knoedler & Company, the dozens of inventive, small paintings on bingo cards by John Walker are a playful delight that left us wishing we had $15,000 to spare.

5. Gary Snyder/Project Space has proven Sven Lukin's "Snug" sculpture — sort of a lovable cartoon entrail — to be the perfect compliment for Nicholas Krushenick's late 60s blue-and-yellow abstract painting.

6. Kudos to Galerie Ludorff for a terrific presentation in the fair's Modern section that is well-suited to our highlights reel: A vertical row of modest Richter abstractions, a watercolor by Emil Nolde, two small Sam Francis pieces, and a simple-but-weird Max Ernst landscape from 1955.

7. Susan Sheehan Gallery's well-curated arrangement of prints, including work by Ellsworth Kelly and a complete set of ten Judd woodcut prints (selling for $165,000), makes the booth worth a visit.

8. The awesomely-named Dublin gallery Mother's Tankstation has brought a quiet, eclectic mix of work, the highlight of which is simple, everyday landscapes, rendered in oil on board, by Mairead O'hEocha.

9. In the spectacle category, we found Sam Van Aken's "New Edens" exhibition of fruit trees at Ronald Feldman Gallery to be ecologically intriguing. Meanwhile, the Ivan Navarro neon fence that made up the entirety of Paul Kasmin's booth was either a brilliant stunt or just a stunt, depending on how dark the lenses of your shades were.

WORST 

1. The award for the worst feature of this year's fair goes — drum roll, please — to the Armory Show itself. Tiny booths, too many exhibitors, and an anyone-who-can-pay attitude toward choosing galleries all made this year's edition a grim, gray trade fair.

2. The silly, panting-after-a-fad 3-D video by the Bluesoup Group at XL Gallery booth reminded us that not all technology is good technology.

3. For its booth in the Modern section, Nohra Haime Gallery has put two monumental pieces in the center: the gaudy and golden "Horus" (1990) by Niki de Saint Phalle and a large bronze abstract sculpture by Sophia Vari. "Green," a 1985 painting by Pierre Dunoyer, completes a trifecta of awfulness.

4. Giving this one to Honor Fraser hurts, since we're normally big fans of the Los Angeles gallery. We would've loved to have seen paintings from Annie Lapin, featured by Modern Painters as one of "Nine to Watch" back in December. What do we get? A booth full of KAWS that made us feel like we were hanging out in the Kidrobot store five years ago.

5. David Kordansky is another terrific L.A. gallery, representing the likes of Lesley Vance and Heather Cook, but it loses with a lackluster solo show of painting and sculpture by Ruby Neri.