Esther Art Fair returned today for its second edition—straightforwardly titled Esther II—and while it’s still a relatively new entry on the crowded New York fair calendar, this salon-style fair has already established a clear identity. Founded by Margot Samel of the eponymous New York gallery and Olga Temnikova of Temnikova & Kasela in Tallinn, Estonia, Esther isn’t trying to compete with the bigger players. Instead, it offers something more focused: a collaborative exhibition model with no booths in a distinctive atmosphere that offers an alternative to the bustling commercial sprawl that defines so many of New York’s May art fairs.
“For visitors, that interconnectedness shifts how the work is experienced—there’s more fluidity, more unexpected connections,” Samel told Observer. “It encourages slower looking, which is something we really value.”
Returning today (May 6) to the historic Estonian House on East 34th Street, Esther II expands on last year’s debut without scaling up just for the sake of it. Two new upstairs rooms and a redesigned basement level open up space for a fresh lineup of galleries and a new lower-level “showroom,” where Estonian designer Laivi has set up a t-shirt design area. Fairgoers can choose from among various fabrics that she will incorporate into the front, back and sleeves of a custom shirt.
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Esther returnees should keep in mind that any and all differences they spot between this year’s fair and last year’s are more than likely intentional. Most of the 2024 participants aren’t returning—only three galleries are back: Kogo from Estonia, Kim? Contemporary Art Centre from Latvia and Shanghai’s BANK, which recently opened a temporary satellite space in Nolita. That turnover isn’t accidental, according to Samel and Temnikova. Esther was created specifically for younger and smaller galleries often priced out of the city’s major fairs, and Samel and Temnikova have committed to keeping the model flexible, accessible and responsive.
The fair, according to the founders, will likely have a fixed endpoint—Esther III, assuming there is one (and you know what they say about making assumptions), might or might not be the last edition. “In other words, we don’t feel the pressure of scaling; the only condition is that it has to be exciting for us,” Temnikova said. They might be on to something, considering the preponderance of big-ticket art fairs opening in the city this week. A curated experience that favors thoughtful presentation over scale, experimentation over white-cube polish and synergy over spectacle sounds like the perfect antidote to the fair fatigue that’s about to hit New York art lovers.
In advance of Esther’s opening, Observer connected with Margot Samel and Olga Temnikova to learn more about what it’s like to mount this fair, how their vision has shifted and what they’re most excited to share with visitors this year.
Let’s talk about the fair’s first edition. What challenges did you face in mounting an unconventional format like Esther, and what surprised you most during or after the inaugural fair?
Olga Temnikova: When envisioning Esther, we knew it would be challenging to organize such an event in parallel with running our active galleries and raising kids (Margot’s son is 5, and I have two kids, ages 7 and 3). And it was hard, especially because we decided to try to keep it to a very low cost for galleries. But Esther also turned out to be so rewarding and exciting. Our team is tiny, but very pleasant and efficient; it feels much easier than it could have been. Though when wrapping up the first edition, Margot was absolutely positive that “never again.” But here we go! I am surprised I’ve managed to talk her into Esther II… or who talked whom into it?
How has your vision for Esther shifted since year one?
Margot Samel: The first edition of Esther was an experiment on so many levels—and I think it worked. One of the key takeaways was the value of collaboration—visitors appreciated how different galleries worked together in a single space and how Esther’s unique setting fostered intimacy and dialogue between artists, galleries and the public. Perhaps not surprisingly, people also loved the social element, particularly the dinners and talks at the restaurant/bar, which was also part of the presentation. Going to talks and panels at fairs can sometimes feel a bit alienating, but at Esther, it felt much more natural—likely because it all took place in such a relaxed, informal setting. We’ve leaned even further into the social aspect this year—with performances, communal dinners and a Drag Bingo Night on Wednesday to bring everyone together in a fun, inclusive way.
Temnikova: I would not say it has shifted much; we simply gained confidence both regarding the programming and layout. Soon we’ll see if our confidence had grounds.
Samel: It’s also worth noting that for this year’s edition, we’re once again partnering with Docent to offer a digital platform that complements the physical experience of the fair—making it easier for visitors to engage with the works and galleries both onsite and online. One downside of not using a traditional booth setup is that it can sometimes be unclear where one gallery presentation ends and another begins. Docent helps clarify those boundaries and supports a more fluid yet informative experience for visitors.
You’ve put together a very different gallery roster in 2025. What informed that decision, and how did you approach the selection process for Esther II?
Samel: The decision to invite a majority of new galleries this year is part of our effort to keep things fresh and exciting, especially since we won’t be doing Esther forever. At Esther II, we’re presenting twenty-five galleries from seventeen different cities, including Cremona, Riga, Tokyo, Portland and Ho Chi Minh City, among others.
Temnikova: Esther stands out as more than just a typical art fair—this is one of its unique aspects! This fair serves as a distinctive platform designed to support gallerists and artists precisely when they require it, and we want each edition to feel fresh and renewed.
This year, you’re expanding into additional spaces—including a “showroom” for design. What does that expansion allow you to do that wasn’t possible before?
Temnikova: Initiating a design focus, we were hoping to create a more sensual, personal experience during ‘Frieze’ week, where seeing too much might make you numb. There are other senses, right? Of course, we don’t see much hierarchy between art and design—everything merges at Esther II—our team is wearing Julia Heuer and Laivi outfits, and the latter’s interactive project will be integrated with an installation by Zody Burke, which will continue into a display of Sorcerer intuitive sculptural unique accessories. Could it get better if this will be followed by a round of drag bingo with Estonian traditional soup on the side?
How does the boothless layout influence the way art is viewed at your fair versus at other fairs?
Temnikova: Having participated in around 100 art fairs with a booth structure, I seem to see only upside in this—limitations are inspiring. The Estonian House premises are visually so ‘juicy’ that site specificity there is pretty obvious. An obvious dialogue with space makes it easier to get into the works; it acts as an ice-breaker. The downside is maybe that not every artwork is right for the space, but when it works, it works well.
Samel: From an organizational perspective, the boothless layout definitely makes things more exciting—and more complex. We’re not just placing galleries and their presentations in a neutral, white-walled environment; we’re curating them within a highly eclectic setting, where each work has to be considered in relation to its surroundings and its neighbors. It’s more like putting together a large-scale group exhibition or even a biennial than a conventional fair. And for visitors, that interconnectedness shifts how the work is experienced—there’s more fluidity, more unexpected connections. It encourages slower looking, which is something we really value.
Esther positions itself somewhere between an art fair and a curated group exhibition. Who are you hoping this model speaks to: collectors, institutions, curators or someone else?
Temnikova: It’s meant to be more or less an extension of a gallerist or artist’s living room, or perhaps a dining room, so the question is, who do you want to invite today? There is low to no pressure of transactions due to low participation fees; it’s a place to catch up, show something new and exciting, truly connect and experience. It’s a warm, almost cozy experience.
Many fairs are scaling up with more booths, more sponsors, more cities. Do you feel pressure to grow, or are you more interested in carving out a new kind of niche in the increasingly crowded fair landscape?
Temnikova: We still somewhat refuse to look at it as a fair. And Esther’s point is not to be big; it’s built around that human-scale space and is inhabited by a very friendly bunch of gallerists. We were thinking that we would do it a maximum of three times, taking it one at a time. We do have another project in mind for the future; not sure it will be much bigger though. In other words, we don’t feel the pressure of scaling; the only condition is that it has to be exciting for us. Through that, we hope it works for others as well.
What are you most excited to share with visitors this year? Are there any standouts you can share with us or artists you think we should be on the lookout for?
Samel: There are so many highlights this year for me—it’s honestly hard to choose. But here are a couple that stand out to me.
Sophie Tappeiner will be showing work by Jasmine Gregory, who is presenting six abstract paintings, each emblazoned with the word “DIVORCE”—a word lifted from the cover of Vogue magazine. Installed like a house of cards, the works feel as if they’re on the verge of collapse, echoing the fragility of our desires, identities, and aspirations. What we build—what we invest in—can fall apart at any moment. And in that collapse, there’s both a sense of loss and a potential: the possibility of something new, something unbound.
Sara’s will be presenting Ellie Rae Hunter’s works from her Fixers series—sculptural reliefs created from a 3D scan of the artist’s back, molded and cast in pigmented aqua resin. The figurative casts are abstractly colored to evoke energy fields or auras specific to each body, while the cropped framing focuses on posture and gesture as a form of non-verbal emotional expression. Even without facial cues, the back alone communicates vulnerability and strength.