巴塞尔收藏家，建立经销商从尚未开放巴塞尔艺术谁想要完成建立自己的摊位，和其他人，按每年的传统，融合在预览第13版的清单公平昨天，许多人在共同不少内的经销商，很可能不得不敲在他们的头上周围的一句话最近出版的内部通讯的拜尔Faxt ： “ ...如果画廊没有一个强有力的6月（在博览会等） ，这一漫长的夏季，没有销售可能会导致大量的非重开画廊9月。 “清单，作为一个公平的年轻经销商，其中大部分可以被假定为经营画廊相对手到嘴，似乎是可以易受市场最近的海上变化。 As Joel Mesler of LA gallery Mesler&Hug , a Liste exhibitor, put it before the fair opened, “galleries operate on two things — cash flow and hope — and if Basel doesn't go well for some it takes out both.”由于乔尔Mesler洛杉矶画廊Mesler与拥抱 ，一个清单参展，把它面前的公平开放， “画廊经营的两件事-现金流和希望-如果巴塞尔并不顺利一些需要既。 ”
And yet, those prognosticators intent on hearing in Liste something that sounds like a death knell for young galleries and their (for the most part) young artists will be disappointed.然而，这些预言意图听证目录的东西听起来像丧钟为年轻画廊和他们的（大部分）的青年艺术家将会感到失望。 If sales didn't exactly go gangbusters on opening day, as they had in boom years, dealers, although nervous, generally kept spirits high, and some managed to make enough sales on day one to feel assured they might just cover costs, a feat in these straightened times, when more and more galleries are considering moving art fairs from the profit-making to the advertising and marketing categories.如果没有准确的销售去迸发开放一天，因为他们在经济繁荣的年代，经销商，虽然紧张，一般保持精神高度，有些设法生产出足够多的销售第一天感到放心，他们可能只支付费用，一个壮举在这些直次，当越来越多的画廊正在考虑艺术博览会由非牟利的广告和营销类。

Uneven as it may be — and it is more uneven in quality this year than it's been in years past — the fair, Basel's original satellite and the only one now fully endorsed by the main fair, is still considered by galleries to be a good context in which to be seen.不平衡的，因为它可能是-它是不均衡的质量比今年已经在过去几年里-公平，巴塞尔的原始卫星和唯一一个完全赞同现在的主要公平，依然认为这是画廊是一个很好的背景其中待观察。 As new exhibitor James Fuentes , from New York, who has brought small, exquisite, and reasonably priced (just a couple thousand dollars apiece) works by Alejandro Cardenas , put it, “I'm excited to do this fair.随着新的参展商詹姆斯富恩特斯 ，来自纽约，谁带来小，精致，和合理的价格（仅一对夫妇万美元分）的作品， 亚历杭卡登纳斯 ，所说的那样， “我很高兴这样做公平。 It was the first real satellite fair.”它是第一个真正的卫星公平。 “


恩特斯说， “即使你只是谈论的人，这是优于目前在家乡的画廊，在这里，您可能会看到两个人来的一天。 ”

As for the crowd at the opening, some major American collectors, like Michael Ovitz , have skipped Basel this year, as one Liste-goer pointed out, but other usual suspects from the US were still in attendance.至于观众在开幕式，一些主要的美国收藏家，像迈克尔奥维兹 ，已经跳过巴塞尔今年，作为一个清单攻打指出，但其他一般的嫌犯来自美国仍然出席了会议。 There were adventurous New York collectors like Shelley and Phil Aarons and Susan and Michael Hort , as well as other art-interested folks, like Joel Wachs , head of the Andy Warhol Foundation .有冒险纽约收藏家喜欢雪莱和 菲尔Aarons和苏珊和 迈克尔园艺 ，以及其他艺术感兴趣的人，像乔尔Wachs团长安迪沃霍尔基金会 。 And dealers from down the street at Art Basel making the rounds included Adam Sheffer of New York's Cheim and Read , Courtney Plummer of New York's Lehmann Maupin , Tim Blum of LA's Blum and Poe , and Massimo de Carlo , of his eponymous Milan gallery.和经销商从街道在巴塞尔艺术使两轮包括亚当谢弗纽约Cheim和阅读 ， 考卢默纽约莱曼平 ， 蒂姆百隆的LA的百隆和爱伦坡 ， 和 Massimo 德卡洛 ，他的同名米兰画廊。 Artist John Baldessari was on hand for the preview, eying prints on silver paper by Emilie Pitoiset at Paris gallery Lucile Corty .艺术家约翰•巴尔代萨里是手头上的预览， eying的银纸打印的埃米莉Pitoiset在巴黎画廊露西Corty 。

LA dealer Javier Peres , who also has an outpost in Berlin, was doing brisk business in pieces by Mark Flood , a 52-year-old Texas-based artist who until recently has worked in relative obscurity.洛杉矶经销商哈维尔佩雷斯 ，谁也有一个前哨在柏林，在做业务的活跃作品马克洪水 ，一个52岁的得克萨斯州的艺术家谁直到最近一直在相对默默无闻。 (Peres showed Flood earlier this year, and the artist currently has his New York premiere at Zach Feuer Gallery , a show that has been widely, and favorably, reviewed.) By the end of the preview day, Peres had nearly sold out his booth of Floods, priced anywhere from $5,000 to $25,000, the priciest among them being the lace paintings (large, elaborate, abstract works made from layers of lace and paint). （佩雷斯显示防洪今年早些时候，和艺术家目前他在纽约首映扎克Feuer画廊 ，一个表明，已被广泛和积极的，审查。 ）截至预览一天，佩雷斯已接近售罄的展台水灾，售价5000美元不等，以25 000美元，其中全球最昂贵的是花边绘画（大型，复杂的，抽象的作品由两层花边和油漆） 。 Less expensive were paintings from another series, which a colleague of Peres's referred to colorfully as Flood's “brash send-up sign pieces,” with metallic grounds emblazoned with slogans such as “Another Painting.”不太昂贵的绘画从另一个系列，其中一位同事的佩雷斯的色彩提到洪水的“傲慢发送后续签署件， ”金属理由印有口号，如“另一个画。 ”

Next door to Peres, New York gallery Foxy Production had parted with several works by Berlin-based artist Simone Gilges by early afternoon, editioned prints for $3,500 and unique pieces with collaged-in fabric for $5,400.隔壁的佩雷斯，纽约画廊狡生产分手的若干作品柏林的艺术家西蒙娜Gilges年初下午， editioned打印三点五〇 〇美元和独特的作品与collaged的织物为5 400美元。 And upstairs the LA gallery Overduin and Kite had sold almost every one of its small abstract paintings by Ohio-based artist Scott Olson , priced at $4,000 apiece.和楼上的洛杉矶美术馆Overduin和风筝已售出几乎每一个小抽象画的总部位于俄亥俄州艺术家斯科特奥尔森 ，售价为$ 4,000美元。

不寻常的清单，其中一个最满意的显示器是家具。 Tucked away in a corner of James Fuentes's booth are some hyper-clever pieces by 64-year-old artist William Stone , whom Fuentes showed earlier this year.藏在角落里的詹姆斯富恩特斯的展台是一些超聪明件由64岁的艺术家威廉石 ，人富恩特斯显示，今年早些时候。 There is a table with a top that seems to float — two of its legs are made of wood and the other two, improbably constructed of what appears to be flimsy metal wire — as well as an ottoman with a Transformers-like versatility — in a few quick steps, it morphs into a chair.有一个表的顶端，似乎浮动-两个腿是木材和其他两个， improbably建造看来是站不住脚的金属丝-以及奥斯曼的变压器样多功能-中几个简单的步骤，它morphs到一张椅子上。
Eying Stone's work, Fuentes observed, “It's the kind of sensibility that grows old gracefully, like Johnny Cash .” Eying斯通的工作，富恩特斯指出， “这是种感觉，生长岁优雅，就像约翰尼卡什 。 ”





伦敦Dicksmith画廊出售这幅画的阿利斯泰尔弗罗斯特为5,000英镑（八点一四〇美元） 。