Director of NADA
WHITEWALL: What is different about NADA this year?
HEATHER HUBBS: One small difference is that most of the fair now has 12 foot walls which I think makes the fair just a bit more professional and has given the face of the fair a refreshing look. We also have a performance series every day by artists that are either part of the fair or working with galleries in the fair and wanted to perform.
WW: The outdoor space at NADA is sort of an oasis with its outdoor dining area, hammocks in the shade, a beautiful lawn…
HH: We’ve been really pushing it this year because we’re free so it seems like a really good opportunity for people who are concerned about spending money.
WW: Do you think the coop setup of NADA gives you an advantage over some of the other fairs in being financially conservative?
HH: I’d like to think so. I’m not sure what the other fairs charge for their booths. A lot of them have options on the size of the booth that you rent that corresponds to its cost. We’ve talked about doing that but we like the fact that it’s one booth size for all – it keeps it very easy and very equal and everyone is on the same playing field that way. The reason for the coop model is to keep cost down. I do think that it helps and sponsorship money that we make for the fair would go towards offsetting booth costs.
WW: Given that NADA is a place for young, emerging galleries, did you get a sense of worry from any of the dealers because of economic concerns?
HH: I think people were definitely concerned and are still for good reasons. But I encouraged galleries not to pull out because I feel strongly that in times of economic struggle it’s not a great idea for you to pass up on opportunities to make sales. I don’t know what everyone’s financial situation is and sometimes people just make it happen. But when you are not in a major place like London or New York and people aren’t really walking into the gallery to buy work, passing up on an art fair may not be smart – especially one that coincides with Art Basel, people are going to come. I also told people to make sure they brought quality work. I can put the fair up and make sure it opens on time and looks as nice as it possibly can and people show up, but whether or not they buy I can’t control. So if it’s good work it will sell.
WW: I’ve heard that NADA has an especially rigorous application process. What is your criteria for a NADA dealer?
HH: We try to pick out dealers that are new, interesting – it doesn’t have to be necessarily a solo project, a lot of people come with curated or themed booths. We look for people that are trying to put the best thing together that they possibly can. It’s very disappointing when you get an application from someone who’s been doing the fair for five years and they’re clearly just thinking they’ll get in. That’s when we get a little more involved and say, “Hey, don’t take it for granted.” Basel accepts galleries from our fair every year, which is sad for us because we love having them here but it’s great because that’s the point.
