Another Stellar Edition of SFAF is Here, Focusing on AAPI Voices

Kim Miseong, “Scent of a Sweet Memory,” 2024. Oil on canvas. (Photo: Courtesy of the J Contemporary Art)

Starting April 16, thousands of artists, gallerists, and collectors will gather on a pier overlooking the San Francisco Bay. These visitors won’t just be in the area for the expansive views of the Golden Gate Bridge or the nearby Fort Mason Park. They’ll also be there for the 2026 San Francisco Art Fair (SFAF), staged annually by Art Market Productions.

Now in its 14th edition, this year’s SFAF will once again celebrate the Bay Area and its vibrant artistic scene. But, as fair director Kelly Freeman reminds the public, SFAF isn’t limited by its regional affiliation, despite its name. At Fort Mason’s Festival Pavilion, guests will encounter more than 88 galleries from around the world, spanning cities like Buenos Aires, London, Medellin, Paris, Seoul, and Tokyo. In Freeman’s mind, the resulting selection offers a “dynamic mix of regional, national, and international perspectives across disciplines,” without sacrificing the fair’s deep commitment to its titular city.

“This isn’t just a fair that takes place in San Francisco—it’s one that is built in dialogue with the community around it,” Freeman tells My Modern Met.

This year, that dialogue will revolve around Asian and Pacific Islander creativity, a fitting tribute considering that the AAPI community makes up more than 30% of San Francisco’s population. Highlights include the Chinese Culture Center’s Design Store pop-up, where attendees can purchase one-of-a-kind and limited-edition works from over 75 artists, designers, makers, and craftspeople; Jon Cuyson’s painting series The Sun Beneath, providing a glimpse into the forthcoming Philippine Pavilion at the 2026 Venice Biennale; and deep dives into the city’s sprawling Chinatown, whose historical significance is unrivaled as the first Chinatown in the United States. Taken together, these presentations underscore not just the enduring influence but presence of AAPI practices within San Francisco’s cultural ecosystem.

“Every curatorial decision we make is rooted in the city’s unique artistic makeup, and it’s what defines us,” Freeman explains. “From fair programming to gallery selection, we’re always considering how each element can best serve the city’s needs.”

Ahead of this year’s edition, which will be held from April 16 to 19, we had the chance to speak with Kelly Freeman about the San Francisco Art Fair, what distinguishes it from other events, and what visitors can expect this time around. Read on for our exclusive interview with the fair director.

Charlotta Hauksdottir, “Erosion XIV,” 2024. Collage. (Photo: Courtesy of Teravarna Art Gallery)

Gonzalo García, “Panopticopia 10 – Sport,” 2025. Watercolor on paper. (Photo: Courtesy of CK Contemporary)

Alasdair Lindsay, “San Francisco Street,” 2026. Acrylic on canvas. (Photo: Courtesy of Quantum Contemporary Art)

Shanneil Clarke, “two heads are better than.” (Photo: Courtesy of Black Art in America)

What are the origins of the San Francisco Art Fair, and what role have you played in its growth?

The San Francisco Art Fair began over a decade ago to serve as a connective platform for the region’s arts community. From the outset, the goal was to bring together galleries, institutions, artists, and collectors in a way that felt distinctly rooted in the Bay Area. Since then, the fair has grown alongside the city itself, growing its roster of galleries, deepening institutional partnerships, and attracting a more global audience, while maintaining a strong regional focus.

My role has really been centered on stewarding that balance: ensuring we continue to grow in scale, while staying grounded in the community that defines us, and what makes our fair unique. Ensuring that the fair is a place that supports both emerging and established artists, gallerists, and collectors, and creating meaningful opportunities for connection, particularly for new art lovers.

Murat Palta, “Circle of Uncertainty,” 2025. Textured print with AR. (Photo: Courtesy of 2rt)

Hanna Kim, “Chosen socks,” 2026. Oil on canvas. (Photo: Courtesy of Gallery Playlist)

Joanne Jung-eun Lee, “In conversation (You and me),” 2023. Colors on layered Korean mulberry paper with traditional glue mixture. (Photo: Courtesy of Bluestream Gallery)

What differentiates SFAF from other contemporary art fairs, especially those with a more local profile?

Our community-driven model is what truly sets us apart! This isn’t just a fair that takes place in San Francisco—it’s one that is built in dialogue with the community around it. Over the years, we’ve cultivated deep relationships across the region, giving us valuable insight into the evolving needs of its creative community.

For example, this year we’re thrilled to be focusing on AAPI voices, a community that makes up 30% of San Franciscans. From partnerships with the Chinese Cultural Center—the oldest Asian American arts Organization in the U.S.—to booths that celebrate AAPI heritage—such as The Sun Beneath painting series from Jon Cuyson, which will offer attendees a glimpse into the forthcoming Philippine Pavilion at the 2026 Venice Biennale—the fair is grounded in the cultural narratives that define the city today.

Greg Gandy, “Boats in Vernazza,” 2025. Oil on canvas. (Courtesy of CK Contemporary)

Ole Marius Joergensen, “Summer Day in a Fjord.” Archival pigment print. (Courtesy of Hall Spassov)

Christine Rasmussen, “Sunlight on the Side (Grounded),” 2025. Oil on panel. (Courtesy of Billis/Williams Gallery)

Terran Last Gun, “Discovering Beauty in the Unknown,” 2025. Ink, colored pencil on antique “cash” ledger sheet, dated 1905. (Courtesy of COL Gallery)

Matt Devine, “Fall Colors.” Steel with powdercoat paint. (Courtesy of Stephanie Breitard Fine Arts)

What is the process of organizing an edition of SFAF?

We always start with a pulse check on the current energy of the city, investigating what’s new and exciting on the local scene and how we can leverage the fair around those organic moments. We definitely view it as a reactive process, where we try our best to respond to the current climate of the region.

Once we have a foundation, we use our community connections around the region—from major institutions to groundbreaking curators—to create a vibrant program that brings in a diverse set of voices, practices, and backgrounds.

Elena Molinari, “Family,” 2024. Oil on canvas. (Courtesy of Christopher-Clark Fine Art)

Andrea Bergen, “Tiptoe Through the Tulips,” 2025. Hand cut paper and gel medium on wood panel. (Courtesy of Cindy Lisica Gallery)

Liu Tianlian, “Grace Beyond Words,” 2023. Chinese mineral pigment on paper and silk. (Courtesy of Yiwei Gallery)

Miriam Sweeney, “Painted Ladies,” 2024. Acrylic on wooden panel and floater frame. (Courtesy of Art Scout)

Ilhwa Kim, “Geographic Pace.” Hand-dyed mulberry paper. (Courtesy of Maybaum Gallery)

Every year, SFAF celebrates the Bay Area’s flourishing art scene. How has that scene evolved since SFAF launched in 2011?

San Francisco has changed so much since we opened our first fair, and obviously there are debates about that on both sides. Regardless of what you hear about the Bay Area, I can tell you that its art scene is incomparable. San Franciscans love art, and with the over 20,000 people who come to the fair every year, they love to support their artists.

While the city has always had a thriving arts presence, I think the international community has taken a growing interest in recent years, largely due to the immense efforts of the institutions, galleries, and creative voices that we actively work to serve. It’s resulted in a long overdue buzz and we hope it continues.

Alasdair Lindsay, “Golden Gate Bridge,” 2026. Acrylic on canvas. (Courtesy of Quantum Contemporary Art)

Barbara Kuebel, “changing proportions,” 2020. Woodcut on paper. (Courtesy of Ferrara Showman Gallery)

Lynette Cook, “Yin Yang,” 2021. Acrylic on canvas. (Courtesy of Christopher-Clark Fine Art)

Esther Shimazu, “Just Us Two.” Stoneware and porcelain. (Courtesy of John Natsoulas Gallery)

In that same vein, SFAF is deeply informed by the Bay Area and its artistic community. What roles do site-specificity and location play in the fair’s curatorial approach?

Every curatorial decision we make is rooted in the city’s unique artistic makeup, and it’s what defines us. From fair programming to gallery selection, we’re always considering how each element can best serve the city’s needs—whether that’s amplifying underrepresented voices, highlighting key cultural conversations, or creating opportunities for collaboration across communities.

Ultimately, site-specificity is embedded in how the fair takes shape each year, and it’s an approach we carry across all of our fairs, including Seattle and Atlanta, ensuring each one is equally grounded in and reflective of its local community.

David Syre, “Racing Motorcycle,” 2025. Acrylic on canvas. (Courtesy of Cordata Gallery)

Alessandra Rehder, “Amazonia,” 2025. Cut photographs overlapped and elevated through pinning framed in green acrylic. (Courtesy of Emmanuelle G. Contemporary)

Emma Framson, “Path to Somewhere,” 2023. Oil. (Courtesy of Teravarna Art Gallery)

Dermot Smyth, “Rooted,” 2025. Oil on canvas. (Courtesy of Quantum Contemporary Art)

What can visitors expect from the 2026 edition of SFAF, and what distinguishes it from previous years?

The 2026 edition brings together more than 88 galleries from around the world, offering a dynamic mix of regional, national, and international perspectives across disciplines. A defining focus this year is the amplification of AAPI voices, with presentations rooted in San Francisco’s Chinatown, including the Chinese Culture Center’s Design Store pop-up, which directly supports over 75 artists and makers.

We’re also thrilled to welcome so many beloved Bay Area organizations into the fold, from Saint Joseph’s Arts Society and the new Art + Water initiative to Root Division and the Alternative Art School—alongside presentations like 500 Capp Street Foundation’s The Accordion Shop, which reimagines the booth as a lived-in, domestic space. On a national level, Black Art In America’s Fine Art Print Fair makes its West Coast debut, bringing together more than 50 historic and contemporary artists.

There’s so much to discover, and we hope attendees return each day to see what new moments are in store.

Anthony Suber, “Mislabeled During the Journey,” 2024. Ink and colored pencil on collaged and cut paper. (Courtesy of Cindy Lisica Gallery)

Roy De Forest, “Ode to Rin Tin Tin,” 2002. Lithograph and color woodcut with pochoir on Thai mulberry paper in artist-made frame. (Courtesy of John Natsoulas Gallery)

Traci Mims, “Because They Stood,” 2025. Color reduction woodcut print on paper. (Courtesy of Black Art in America)

Jisook Jung, “Lyling,” 2026. Clay. (Courtesy of Gallery Playlist)

What are some of your favorite highlights from this year’s fair?

I’m particularly excited about an incredible presentation by Cambodian artist Anida Yoeu Ali, who created an immersive garment display comprising chador garments often worn by Muslim women. The aim of the display is to break down stereotypes and build understanding around Islamic culture, allowing visitors to try on an assortment of the vibrant and luxurious full-length textiles. The activation will transform the space into the fair’s very own upscale fashion closet, and it’s going to be great to see visitors actively bring all the garments to life.

I’m also looking forward to seeing visitors engage with Trulee Hall’s larger-than-life kinetic sculpture Cloud Goddess. The work blends mythology and technology with the wonder of the atmosphere, inviting individuals into a sensorial experience that evokes a cosmic presence as they move through it.

Ligorano Reese, “Indian Elephant (Elephas maximus indicus),” 2024. Cyanotype on Japanese Sekish 30g paper. (Courtesy of Catharine Clark Gallery)

Paul Cupido, “Mt Fuji,” 2023. Archival pigments on Kozo paper. (Photo: Paul Cupido, courtesy of Peter Fetterman Gallery)

José Basso, “Luna Creciente al Calor de la Tarde,” 2025. Oil on canvas. (Courtesy of CK Contemporary)

What do you hope visitors will take away from SFAF—not just this year, but as a whole?

At its core, I hope visitors leave with a meaningful connection. Whether that’s discovering a new artist, engaging with a new perspective, or gaining a deeper appreciation for the Bay Area’s creative community. If the fair can spark that sense of connection and curiosity, then it’s doing what it’s meant to do.

Oh, and a piece of art, of course!