2025 Outside Art Fair: Key Trends and Standout Artists in Contemporary Art

The 2025 art fair season is officially underway! It began with Frieze in LA and continued this past weekend with The Outside Art Fair, where Selfless Art Gallery was in attendance. We were pleased with the fair’s thoughtful curation and cohesive presentation. Interestingly—or perhaps expectedly—we noticed recurring themes across multiple booths, creating a strong sense of continuity throughout the venue. Additionally, several contemporary art galleries reported significant sales even before the fair opened to the public. Congratulations to those who saw early success, and to all galleries for a strong showing! For those unfamiliar, The Outside Art Fair is dedicated to showcasing Brut Art, a French term meaning “raw art.” This genre is characterized by works created outside the traditional art establishment—often by self-taught artists whose creations emphasize instinct, emotion, and unfiltered expression.

Courtesy Outside Art Fair, photo credit: Olya Vysotskaya

Overall, we found the fair to be solid, with some intriguing art market trends that caught our attention. Here are the key trends we observed:

Are Small Works Here to Stay?

Left to Right: Chico da Silva (1910 - 1985) Bichos, 1965,Tempera on paper 22 x 30.25 inches(Courtesy Outside Art Fair);Mirian Inêz da Silva (1938 - 1996)Untitled, 1984, Oil on wood, 12.20 x 15.74 inches, Courtesy Galeria Estação,(Courtesy Outside Art Fair); Under The Table Buffet,Alison Friend

The prevalence of smaller works first caught our attention at the 2024 ADAA Art Fair, where several artists presented pieces around 12” x 9” in size. One standout was NYC-based contemporary artist Quentin James McCaffrey, whose masterful handling of light, in addition to his ability to create endless space, makes his work particularly striking. His depictions of empty rooms feel like portals into a world that continues beyond the canvas, setting him apart from his contemporaries.

This year, The Outside Art Fair reinforced the appeal of small-scale artworks, with many pieces adhering to similar dimensions. We believe their compact size makes them highly desirable—particularly for art collectors with limited space, like those in NYC apartments—solidifying their status as must-haves in the modern art market.

Is Paper Becoming the Preferred Medium Over Canvas?

Davood Koochaki, Untitled, 2010-2019, Graphite, colored pencil on paper, 39.25 x 27.5 inches (courtesy Cavin Morris Gallery); Nicole Frobusch, Throne, 2024

Natural earth pigments & 24k gold on hemp paper, 16.5 x 11.5 inches, (courtesy Cavin Morris Gallery)

One of the most striking art trends at this year’s Outside Art Fair was the prominence of works on paper across multiple booths. Traditionally, paintings on canvas have dominated art exhibitions, but the increasing visibility of paper-based artwork suggests a shift in collector preferences. There are several reasons behind this growing trend. Works on paper offer collectors more flexibility in framing and display, allowing them to personalize their presentation. Unlike pre-stretched canvases, these pieces can be framed according to a collector’s taste, making them a versatile option for those looking to customize their art collection.

Another key factor driving this trend is practicality. Works on paper are generally easier to store, transport, and ship, making them particularly attractive for both collectors and art galleries selling art online. With many collectors purchasing art from international art fairs, the ability to roll and transport a piece with minimal hassle is an added incentive.

What stood out most, however, was how emerging and established artists maximized the full potential of the medium. We saw a range of innovative art techniques—from crayon drawings to colored pencil art, and even mixed-media works that blurred the line between drawing and painting. This suggests that rather than being viewed as secondary to canvas, paper art is being embraced as a primary fine art medium with its own unique possibilities.

Are Pencil and Crayon the Preferred Medium for Brut Art?

Caroline Demangel, Principe Rouge (Red Principle), 2012-2020 Acrylic, pastel, pencil on paper,47.25 x 31.5 inches (courtesy Cavin Morris Gallery); Noviadi Angkasapura, Untitled, 2025, Ballpoint pen on paper, 13 x 8.5 inches (courtesy Cavin Morris Gallery) Noviadi Angkasapura, Untitled, 2025, Ink, Graphite on masonite 13.5 x 9.5 inches(courtesy Cavin Morris Gallery)

Another major shift we observed at The Outside Art Fair was the increasing use of pencil and crayon as preferred mediums in Brut Art. While oil painting has traditionally been a dominant force in fine art, we noticed that pencil, crayon, and other dry media are becoming more prominent, especially in contemporary works on paper.

Artists like Davood Koochaki and Noviadi Angkasapura exemplified this trend, using graphite and colored pencils to create raw, expressive works that highlight the depth and versatility of these mediums. These pieces demonstrated a remarkable range of drawing techniques, from delicate, whisper-thin lines to bold, heavily worked surfaces.

The increasing demand for works on paper naturally complements this shift, as pencil and crayon lend themselves well to the flexibility of this medium. Artists exploring Brut Art and emotional realism are finding pencil and crayon to be an ideal fit for their often visceral and unpolished subject matter. The ability of these mediums to capture intricate details and tonal subtleties makes them especially appealing to artists experimenting with hyperrealism or minimalist approaches.

We understand that many artists in Brut Art prefer pencil and crayon for their ability to capture raw emotion, as these mediums facilitate a direct, unfiltered expression that resonates deeply with the themes of emotional and psychological depth central to Brut Art.

Courtesy Outside Art Fair, photo credit: Olya Vysotskaya

Our Standout Artists

While The Outside Art Fair featured a strong and diverse selection of works, a few artists stood out to us for their unique perspectives, technical mastery, and ability to evoke emotion. As we explored the fair, we were drawn to works that demonstrated not only exceptional craftsmanship but also a compelling artistic voice—whether through bold use of color, intricate detail, or thought-provoking subject matter. Some artists impressed us with their innovative approach to traditional mediums, while others captivated us with their storytelling and conceptual depth. Below, we highlight the artists who left a lasting impression and whose work we’re excited to follow.

Top to Bottom: Untitled, c. 1950s, oil on hardboard, 9 5/8 x 7 1/2 in (courtesy Mendes Wood DM); Untitled, 1983, oil on hardboard, 15 3/4 x 11 3/4 in (courtesy Mendes Wood DM); Untitled | Sem título, n.d. | s.d., oil on hardboard, 16 5/8 x 23 7/8 in (courtesy Mendes Wood DM)

Amedeo Luciano Lorenzato (1900-1995) – Brazilian contemporary artist Lorenzato’s work is deeply rooted in his observations of everyday life in Belo Horizonte, Brazil. His paintings depict landscapes, still lifes, and neighborhood scenes, capturing a sense of familiarity and nostalgia. What fascinated us most was his distinctive painting technique—from our understanding, he used hair combs to apply his paint, creating rich textures that set his work apart in the contemporary art world. His work is represented by galleries such as David Zwirner, and you can see his artistry across platforms such as Artsy and Artforum. Although Amedeo is no longer with us, we will continue to celebrate and honor his work, just as the masters before us have been revered.

Monoplane, acrylic on wood, (courtesy folkartwork.art.com); Untitled (The Art Studio), acrylic on wood(courtesy folkartwork.art.com); Woman on Fire, acrylic on wood (courtesy folkartwork.art.com)

James Ash (1950?-2021) - We discovered James Ash’s work at the Outside Fair and were immediately captivated. Based on the research we’ve conducted, his story is as intriguing as his art. In 2021, at the age of seventy-one, Ash passed away, leaving behind a remarkable artistic legacy. Months later, his daughter, singer-songwriter Anna Ash, was faced with the task of clearing out his secluded cabin in the woods. Among his belongings, she uncovered over two dozen large, vibrant, and surreal paintings—enigmatic works that now stand as a testament to his creative spirit.

Left to Right (Top to Bootom): Siblings, 14 x 11 acrylic on flat gesso board; Bedtime Story (Courtesy Cindy Sullivan: cindysullivanartist.com)

Cindy Sullivan – Born in California in the 1960s, Sullivan’s work captures the warmth and spirit of the people, places, and experiences that have shaped her life. What immediately drew us in was the authenticity of her storytelling, paired with the slightly unconventional positioning of her figures—creating a sense of spontaneity that feels both deeply personal and universally resonant. We’re thrilled to have discovered her work and look forward to following her artistic journey.

Final Thoughts

The 2025 Outside Art Fair offered a compelling look at emerging trends in the contemporary art market, from the prevalence of small-scale works to the rising appreciation for works on paper and pencil-based art. While traditional mediums like oil painting remain foundational, it’s exciting to see artists pushing the boundaries of material and technique in new ways. As we move further into the art fair season, it will be interesting to see how these trends evolve and whether they gain even more momentum at upcoming events. Whether you’re a collector, curator, or enthusiast, the key takeaway is that the art world continues to shift and expand—offering new opportunities to discover and engage with meaningful work.

We’ll be keeping a close eye on what’s next, so stay tuned for more insights from Selfless Art Gallery as we continue to explore and share our perspectives from the global art scene!

References: The Outside Art Fair | Cavin-Morris Gallery | Cindy Sullivan | folkartwork.art.com | Amadeo Luciano Lorenzato – Mendes Wood DM