Having a more comfortable and wider interior architecture in compared to past years, Frieze London with its Frame and Focus sections, in which 2013 curatorial selections were made, had the quality to prove that new discoveries could exist in the commercial environment of the fair and booths in the fair could be used as individual exhibitions.

Exhibited in Berliner gallery Aanant & Zoo's booth in the Frame section, Vlado Martek is an artist, who is not known although he is around the age of 60. When the practice of Croatian artist, which he produces a conceptual language by using simple materials, is evaluated from the commercial perspective, it is quite 'modest'. His 'sculpture' like works such as the pockets of a torn down trousers nailed onto the wall with text written on papers stuffed to these pockets as well as his drawings on paper, in which the names of Mallarme, Duchamp and Beuys were also mentioned, reflect the artist's concern to represent text and ideas as they are. Maltek's works, which remind Mladen Stilinovic's work called 'Dear Art’ that is exhibited in this very moment in Calvert 22 in Shoreditch, London, both from a form and sensitivity perspective, is one of the most important discoveries in the fair.

The photography and sculpture works of Vadim Fishkin on another corner of the fair are the proof for the possibility of simple materials attracting attention in the smart atmosphere of fair. While white dots in the middle of two landscape photographs taken by Fishkin from the same point imprinting the tension of small surprise emerged from a structural unity and a simple repetition, a light bulb still lit despite it is unplugged, is questioning the relationship of art with its function.

Engagement of New Yorker 47 Canal artists' works, the usage of visual contradictions  in Focus section in order to form unity had the mind opening quality on the usage of limited space in the fair.  The reflection of objects on the wall which are in between sculpture-painting as well as having a relationship with the opposite wall, was providing an easy shift in between different works by opposing to artists getting lost in their own practice and reminding that there is an aesthetic presence of the gallery. Using a small area for a group exhibition was very successful since it makes the experience of the audience complicated.

The booth of Rodeo Gallery from Istanbul was very modest and attractive with its works, which alternate between two-three dimensions. Coming to Frieze a day before it opened to purchase artefacts with a fund (Frieze/Outset Fund) to Tate Museum's collection, guest selectors Beatrix Ruf (curator of Kunsthalle Zurich) and Tobias Ostrander (main curator of Pérez Art Museum Miami) chose a video installation (Not Blacking Out, Just Turning the Lights Off (2011)) by James Richards, who is one of the artists of Rodeo. Besides the two dimensional works of Richards, Ian Law's collage works done by fridge door and fridge magnets is a work, which relates home environment to a painting medium with an interference and can be read both as a collage and sculpture as well as putting a smile on our faces, in the booth of Rodeo, which was one of the four galleries with sales.

Chosen as the best booth in fair, Cabinet hosted theatrical stage installed by Mark Leckey. Gathering mediums such as painting, poster, wallpaper, sculpture, video, 'Pylons, Nylons & Klossowski AD' was creating its own cacophony by itself by taking the visual cacophony of the fair to a step further. Picture of a buffoon hanged by using chains and holiday landscape on the background was sharing the same place with a pornographic poster resembling American Apparel aesthetic as if it was addressing to the loss of meaning when these visuals are demonstrated on the same plane.

According to The Art Newspaper released every day during the fair, one of the hit sales in the fair was Richard Long's clay work dated 1994. Producing a work only once, this work of Long is going to be produced once again for Middle Eastern collector, whose name is not announced. This purchase, which took place in Frieze Masters organized first time last year, is like a celebration for Long to start working with Lisson Gallery again. 

Sculpture installation of Dan Graham, which was presented in Lisson Gallery's booth in Frieze London, was presented on a 15 cm high wooden platform. Audience, who was getting into an organic, minimal, glass made walls that is like the signature of Graham, was creating maybe a small space for themselves by experiencing Graham sculptures, which are mostly presented in outdoors, in a claustrophobic fair environment.

Having minimal and quite a different aesthetic in compared to Lisson, gallery 303 from New York, which was placed right opposite of Lisson Gallery, presented works of Doug Aitken and Jeppe Heim.  Placed on top of each other and made out of mirror, Doug Aitken's 'You's were calling the spectators, who passes through the fair with a quick look at the works, and telling them as if they need to be ashamed of themselves. Jeppe Heim's cube made out of white neon was reminding where and how the works are seen in a similar self criticism way.

Another gallery from New YOrk called Salon 94 was hosting a couple of striking sculptures in the fair. The works, which got accustomed to come out of contemporary art centers such as New York and Berlin and made by transformation of domestic objects, furniture, play with monumentality. Taking political posters as their starting point, pennons were giving the feeling that the works in the gallery compliment one another by placing the sculpture's object feature onto a textual frame.

Bernadette Corporation's visuals, which are in close relation to the advertisement language, were covering outside of Greene Naftali booth. The presentation of the works, which was devised by the artist collective itself, within the framework of fair was maybe the most sincere courtesies and performances.    

Being beyond being a video portrait of P Diddy, team (gallery inc.)'s work named as P Diddy (Diddy/Lakes) (2013) was owning the relationship in between art works and luxury consumption by making a reference to element of "famous" in art fairs. Having a less participation from famous names this year in the fair when compared to previous years and this 'insufficiency' has been reported as news was making this work rather meaningful.

Amalia Pica's twisted saw called Catachresis #45 (leg of the sofa, leg of the table, teeth of the saw, head of the screw) (2013) presented by Johann König Gallery. Being a good example of transforming objects that we are used to see in household, into morbid things by twisting, this sculpture looked rather small in the general frame of fair since it was in the real dimensions of the object.

​Rineke Dijkstra's new photographs, Scott King's prints, Sandra Gamarra's newspaper pictures are only a couple of other works that got stuck in my mind. Being concious of the fact that making a generalization on fair is inadequate, there is one last point that I wish to draw attention to: Frieze was playing with the structure of values in the world of contemporary art, which is used to draw a strict line in between commercial and non-profit. Small discoveries in the fair, where million dollar works are being sold, galleries invited by curators, art books sold in discount and existence of works, which we can never find in the same museum, geographies, aesthetic attitudes under the same roof remind us that a fair can be seen as an disorganized laboratory other than purchase-sale.