Peter Simon’s collection is large enough to read as a survey of modern and contemporary art, but its more useful story for collectors is personal: how a commercial eye trained on textiles, colour and pattern became an art-collecting instinct — and why conviction still matters when markets move against you.

Rana Begum treats light as a material. Her first New York solo exhibition offers collectors a precise lesson in how architecture, daylight, colour and movement can keep changing an artwork after it enters the home.

In his first solo exhibition with Kavi Gupta, Gordon Cheung turns obsolete financial information into landscapes and objects that ask how markets, technology and inherited visual systems make belief feel natural.

Joseph Yaeger’s Agita begins with images we think we recognise and a text we cannot fully trust. We examine how memory, found imagery, watercolour and material accident turn contemporary image culture into psychologically unstable painting.

MoMA’s new photography exhibition begins with Marianne Wex’s radical archive of gendered body language and expands the question through seven contemporary artists. The result is a sharp study of bodies, space, archives and who controls representation.

Frieze Seoul’s strongest signal was not a single million-dollar sale but the breadth beneath it: Korean modernists, international blue chip, museum acquisitions, emerging artists and genuinely accessible entry points all found buyers.