A play on the traditional rocking horse, Daniel Jackson’s life-sized Rocking Unicorn at Moderne Gallery was commissioned for fashion designer Wayne Rogers by his wife as a Christmas gift in 1974. Long thought to be lost and only recently rediscovered by the gallery, it is considered one of Jackson’s most important works. Hostler Burrows presents new hybrid animal ceramic works by Jasmin Anoschkin conjured from the designer’s own fantasy world and personal experiences created from stoneware with a 24k gold glaze. Harry Nuriev’s Curio presentation The Office draws on comical and sentimental inspiration from the designer’s early professional life as a clerk in a small Russian bureau. He takes the standard props—a chair, desk, single hanger, printer, and wallpaper—and subverts and modernizes our expectations of the dour, windowless office. Porky Hefer’s human-scale nests and living pods at Southern Guild are both fantasy world and functional furniture—beautifully crafted, they evoke innocence and wild abandon; by engaging with these transformative works, viewers are invited to return to a childlike state.

A Focus on Craft and Process/
Etage Projects presents a group exhibition inspired by the art deco architecture of Miami Beach and on the inherent productivity of artistic collaboration. FOS, Guillermo Santomà, and Sabine Marcelis worked together to create the pieces on view, rotating them among one another, disrupting the traditional design process by allowing for multiple interpretations, developments, and subversions.

In her series 3 to 5 Seconds: Rapid handmade production, Jenny Nordberg researched mirror- making techniques from the nineteenth century, eventually creating her own using a thin layer of liquid silver applied to glass, where its uncontrolled movement results in a unique, unpredictable design. Nordberg’s mirrors at Hostler Burrows create a striking effect wherein one’s reflection appears almost as a haunting apparition, an ephemeral quality that contrasts dramatically with the immediacy of the design itself. At Galleria Antonella Villanova, Robert Baines’s gold Cosmos Brooch was made by applying the skills and knowledge acquired during his long career as a professor of gold and silversmithing. Todd Merrill Studio introduces Dominick Leuci’s Eques series, the first work of its kind to incorporate air-inflated metal sculptures with LED lighting. Working with custom-made air-blown plumes of stainless steel and LEDs, Eques achieves an uncanny sense of buoyancy.

Jean Cocteau created more than three hundred objects in the studio of ceramicists Marie Madeleine Jolly and Philippe Madeline in the French Riviera, where he also created a revolutionary process for drawing on clay––Lebreton has more than sixty ceramics by the artist assembled in the last twenty years. John Keith Russell’s collection of exceptional Shaker furniture includes a classic maple and pine trestle table made ca. 1830–40, one of only a handful of original, structurally unaltered examples known to exist. At Galerie Philippe Gravier, furniture by Rudy Ricciotti, including a solid walnut dining table, exemplifies quality materials and workmanship as each element is drawn and made by hand.

Unexpected and Modular Designs/
A piece by Gianni Pettena at Erastudio Apartment-Gallery is made up of a series of sedan chairs that come together to create a bed only when assembled according to a simple scheme that could, in theory, be continued ad infinitum.
On view at Magen H Gallery is one of Pierre Chapo’s rare free-form designs, the T22 table from 1972. An architectural work and artistic treasure, it features two modular parts and can be a coffee table, a dining table when fitted with tall legs, or a desk. SIDE Gallery is showing one of Martin Eisler and Carlo Hauner’s most important designs, the Reversible chair from 1955. Manufactured by Forma Moveis in Brazil, the wide and curved seat can be moved to the right or to the left.

At Pierre Marie Giraud, Sterling Ruby’s HEARTS reform and repurpose tabletop vessels into splayed organs and bisected torsos. Hung on the wall—the first time Ruby has presented ceramics in this manner—the HEARTS become both sacred and profane emblems embodying the sentimental, symbolic, and spiritual.

Immersive Environments/
Friedman Benda has turned their booth into a Japanese rock garden, incorporating natural and industrial materials to showcase work by gt2P, Joris Laarman, Florian Idenburg (SO—IL), Faye Toogood, and more. At Christina Grajales Gallery, works by Sang Hoon Kim, Stefan Bishop, Steven and William Ladd, Aaron Poritz, and more are installed in an environment dominated by the color pink––a color that was considered to be neutral in eighteenth-century painting but carries very different associations today related to gender, politics, and sexuality.

Galerie Patrick Seguin presents a full constructed Jean Prouvé 6 x 6 Demountable House from 1944. Originally designed to rehouse WWII victims, this example is outfitted as a fitness room equipped for a variety of activities, once again rendering Prouvé’s architecture entirely adaptable to the present day. Berlin-based Functional Art Gallery’s exhibition of seven new works by Théophile Blandet debuting at the fair also includes wall pieces in black to create a fully immersive environment.