Future Fair opened its fifth edition last week in Chelsea New York City, drawing a crowd that, despite Frieze Week’s saturated programme, turned out in force. On Wednesday’s preview day (7th), the aisles were packed shoulder to shoulder, setting the tone for a dynamic and distinctly communal fair.

MÍRAME Fine Art was proud to be the first Central American gallery to exhibit at Future Fair, presenting new work by Costa Rican artists Carolina Guillermet and Fabian Monge.

Here are five things we learned from the experience:

MÍRAME Fine Art, booth U11. Fabian Monge and Carolina Guillermet (left to right) at Future Fair 2025, NYC

1. Frieze Week is increasingly dense, and Future Fair 2025 stood out.

New York in early May is no easy place to make an impression. With Frieze, TEFAF, NADA, Independent, dozens of gallery openings and museum exhibitions, the city offers a deluge of programming. Several visitors remarked that it was overwhelming and almost too much to process. Yet Future Fair’s opening day was packed from the moment doors opened and throughout the fair’s 4 days, numbers were consistently high. Many of those we spoke with noted Future Fair's inviting tone, a fair where galleries were open, generous, and connected to their presentations. Compared to other nearby events, Future Fair 2025 felt unusually welcoming, and for us as first-time exhibitors, that environment made a difference.

2. Costa Rica is beginning to register.

A highlight of our experience was watching the quiet surprise from collectors, curators, and press as they encountered contemporary art from Costa Rica, often for the first time. Many had no sense of what the country’s art scene might look like, let alone that it’s evolving with such energy. Guillermet and Monge offered a striking entry point, and it became clear that people are ready for more. These were not just passing glances, they were genuine conversations that opened the door to future interest.

3. The work resonated.

Across the four days, we saw sustained engagement from a wide mix of visitors. People returned, brought friends, and asked questions. The catalogue moved quickly. Advisors and critics lingered a long time and wanted to talk with us, hear about the artists and what’s happening. The strength of response affirmed that what feels urgent and relevant to us at MÍRAME was also understood in a city as competitive as New York.

The colour and energy of our presentation arrested people with one collector noticing Guillermet's new painting from afar, making it her mission to circulate the fair as fast as possible to come and get a closer look.

One curator told us the booth felt “like a breath of air” amid the week’s noise, a reminder of the impact work can have when it’s thoughtfully selected and well-placed.

These are the moments that make a fair worthwhile: It was a privilege to see their work met with such serious and thoughtful engagement. Conversations are ongoing and we relish hitting the ground running now the fair is over to continue building this momentum.

MÍRAME Fine Art, booth U11. Fabian Monge and Carolina Guillermet (left to right) at Future Fair 2025.

4. Timing and context are everything.

We learned from our fellow gallerists at Future Fair 2025 that sales across the week were slower than expected. With global uncertainty continuing to shape market behaviour, several collectors told us they were pausing to absorb what they had seen before making acquisitions, particularly because of the packed schedule in the city. This isn’t surprising, and it reminded us that art fairs are as much about building long-term relationships as they are about immediate results. We’re now in active follow-up mode: sharing catalogues, and re-engaging conversations that started in the booth.

5. It’s only the beginning For Costa Rican contemporary art

Taking Guillermet and Monge to New York (during Frieze Week, no less!) was a defining moment for MÍRAME Fine Art. As a young gallery founded in Costa Rica with a mission to promote artists from the region, it’s easy to wonder how that ambition will land internationally. But what we saw and felt in New York tells us we’re on the right path. This is just the start of what we believe will be a long and meaningful contribution to shaping how Central American artists are seen and collected worldwide.

We’ll be sharing more soon. For now, we’re deeply thankful to everyone who visited us, asked questions, and engaged with our artists. This week reaffirmed everything we set out to do with MÍRAME. We’re only just beginning, and the momentum is real.

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