“I was friends with a porn star when I moved back to Los Angeles, and we spent a very depressing Christmas together,” Massoud Hayoun, an investigative reporter turned painter, instructed me steps from the doorway of The Halo in New York Metropolis’s monetary district.
We’re standing in entrance of Hayoun’s portray “Christmas Under Capitalism” (2023), that includes a sullen blue man sporting pink eyeliner and sitting in entrance of three glowing stripper poles. It’s one of many first works that guests to this 12 months’s 1-54 Modern African Artwork Honest will see in the event that they enter by the venue’s Pine Road doorways. Held yearly in London, Marrakech, and New York Metropolis, this 12 months’s Manhattan version is situated in a round 30,000-square-foot ground-level occasion house downtown after earlier stints in Chelsea and Harlem.
Massoud Hayoun posing in entrance of “Christmas Under Capitalism” (2023)
Fairgoers wore bold-patterned outfits to the VIP-only preview on Thursday, Might 7.
Lots of the VIPs who had been invited to preview the present forward of its Might 8–11 run had been intimidatingly modern. I discovered myself amongst wide-brimmed hats, pastel blue fits, patterned pants, and lace skirts. These had been by far essentially the most clever outfits I’ve seen whereas protecting New York Metropolis artwork gala’s over the previous 12 months.
“Porn is one of those things I find whimsical, lovely, and fun, but would it exist if we didn’t live in an extremist capitalist society?” Hayoun requested me rhetorically as we perused his work, that are closely influenced by his Tunisian and Egyptian heritage, on sale at Larkin Durey’s sales space for $5,000 to $6,000.
Hayoun described 1-54 as a spot the place exhibiting artists from the African continent might interact in “collective conversations about solidarity and appreciate each other’s creativity.” The honest’s 30 galleries — together with exhibitors based mostly in Paris, Brazil, Japan, the Democratic Republic of the Congo, and the Bahamas — showcased greater than 70 artists from throughout the African diaspora. Every sales space, a publicist for the honest instructed Hyperallergic, price anyplace from $10,000 to $25,000.
Matheus Marques Abu’s “The Dialectics of the Jump” (2025)
Along with the cubicles, the collective Atlantic Arthouse curated an exhibition of eight Caribbean mid-Atlantic artists entitled Crossfigurations for the honest. One large-scale green-tiled portray caught my eye. The artist, sporting gold-rimmed glasses, was swarmed by VIP guests asking questions on his course of. Gallerists frantically typed on their computer systems in between a sparse however regular crowd of tourists.
Mark Delmont, who flew in from Miami for the honest, stood in entrance of his “Talking to Myself Again” (2024), on sale for $15,000. A customer requested him: “Were you an only child?” It was a becoming query for an artist who simply defined how the three males in his portray had been one. “No, but it felt like it,” he replied animatedly.
Once I lastly received a second to talk to Delmont privately, he famous his Jamaican and Haitian heritage.
“Growing up, I was either too Black for Caribbeans or too Caribbean for Black people,” he stated. That positionality, he added, restricted who he felt he might reliably relate to. “I ended up consulting myself very often.”
Mark Delmont in entrance of his “Talking to Myself Again” (2024)
Delmont used to work in building, an expertise that knowledgeable his option to tile a part of his portray, one thing he used to hate doing on the job. Like most individuals, he famous, the tiles are “immigrants” as a result of they’re imported.
“I like talking about people who build things and maintain society: the construction worker who is always late,” Delmont defined. “When we highlight regular people, we give them a chance to feel good about life.”
Earlier than a lot else might be stated, Delmont was swept up into one other dialog with an keen fairgoer.
After a couple of makes an attempt to trace down Debra Cartwright, who left briefly to place her mom on a practice to Maryland, I met the artist in entrance of her oil portray “Uncharted Waters” (2025), which is on sale for $19,000. Within the work, she conjures brown limbs that seem like submerged in a sea of black, grey, and white. It’s influenced by her mom, a gynecologist, Cartwright stated, and the darkish historical past of gynecological experimentation on Black ladies.
“The feeling never really dies of being part of the lineage of America, the sacrificial original sin,” Cartwright said.
Working on the sales space for Tern Gallery, the primary Bahamas-based exhibitor to attend the honest, was Azi Jones, an undergraduate scholar at Princeton who hails from Jamaica. “Being based outside of the States, it’s not like you’re in Tribeca where you can just pop [in]. So this is an opportunity to get some eyes on these amazing artists that are trying to build their practices,” she instructed me.
The common art work I inquired about at 1-54 was round $10,000–$20,000, and I had no intention of buying something. Nonetheless, exhibitors and artists alike delved candidly into subjects of diaspora and resistance, partaking with press and non-press guests alike — a testomony to the honest’s ethos of openness.
Aerial view of the round house (picture by Parker Calvert/CKA, courtesy 1-54)
There was a small however regular crowd of VIP attendees throughout the honest’s first hours on Thursday. 
Leasho Johnson, “Hole Tight, Heart Clean” (2024)
Debra Cartwright, “Uncharted Waters” (2025)
This 12 months’s 1-54 venue was within the coronary heart of Manhattan’s monetary district.
