The Art Dealers Association of America has named 63 galleries for the inaugural ADAA Fair, bringing its annual New York event back to the Park Avenue Armory after a one-year hiatus and repositioning it as a more focused national showcase for historical, modern and contemporary art.

The public fair will run November 13 through 16, following a November 12 preview gala benefiting the Whitney Museum of American Art. Although the ADAA Fair is being presented as a new event, it builds on more than three decades of association-organized fairs at the Upper East Side venue. The organization previously called its annual gathering The Art Show and canceled the planned 2025 edition as part of what it described as a strategic pause.

The 2026 event is the first edition conceived fully under ADAA Executive Director Kinsey Robb, who joined the organization in 2024. Its 63-gallery lineup is approximately 12 exhibitors smaller than the 2024 fair, reflecting an intentional move toward fewer participants and additional space for presentations, particularly galleries organizing group displays.

Robb told The Art Newspaper that organizers were building a fair around current art-market realities, with greater accountability to participating businesses. Galleries have become more selective about events that demand significant spending on booth construction, transportation, insurance, staffing and hospitality. The ADAA’s stated goal is therefore not growth for its own sake, but a fair that participating dealers consider worth returning to.

The roster draws from the ADAA’s approximately 200 member galleries and includes businesses based across 12 states and 23 U.S. cities. New York remains strongly represented, but the list also includes galleries from Boston, Philadelphia, Baltimore, Chicago, St. Louis, Memphis, Nashville, Miami, Dallas, Houston, Los Angeles, San Francisco and other markets.

That geographic range supports the association’s effort to present the fair as an expression of the American gallery system rather than simply another New York sales event. Regional exhibitors include Talley Dunn Gallery of Dallas, Goya Contemporary Gallery of Baltimore, William Shearburn Gallery of St. Louis, David Lusk Gallery of Memphis and Nashville, Jessica Silverman of San Francisco and Luis De Jesus Los Angeles.

Longstanding ADAA businesses will share the Armory with newer members. Founding members Hirschl & Adler and Kraushaar Galleries are participating, while Berggruen Gallery, GRAY and Schoelkopf Gallery return after exhibiting in the association’s first fair in 1989. Other established participants include Petzel, Perrotin, Pace Prints, Alexander Gray Associates, Michael Rosenfeld Gallery, Sikkema Malloy Jenkins and L.A. Louver.

A dozen galleries will make their ADAA fair debuts. The association highlighted Alexander Berggruen, Sargent’s Daughters and Hollis Taggart of New York; Piero Atchugarry Gallery of Miami; and Nicodim, which operates in New York and Los Angeles. Recently admitted ADAA members AH Arts, David Lusk Gallery and Luis De Jesus Los Angeles are also joining the event for the first time.

The fair’s format will include solo, dual, group, thematic and collaborative presentations. Berry Campbell plans to show work by women artists who have gained greater recognition after being historically overlooked, while James Barron Art will place prominent Color Field figures alongside less widely recognized painters and artists working on paper.

Peter Blum Gallery is preparing a survey of Alex Katz works on paper spanning the 1950s through the 2020s. Jonathan Boos will focus on artists championed by the Whitney during the 1930s, 1940s and 1950s, creating a direct historical connection with the museum benefiting from the preview gala.

Several announced booths will concentrate on individual artists. Roberts Projects will celebrate Betye Saar’s centennial with a presentation of her assemblages. Yares Art will organize a solo display devoted to Larry Poons, while DC Moore Gallery will show new work by Darren Waterston ahead of a planned 2027 New York museum exhibition examining his reinterpretation of James McNeill Whistler’s Peacock Room.

Other highlights demonstrate the range of media and periods the organizers want the fair to cover. Pace Prints will exhibit unique works on paper by Alteronce Gumby. Jessica Silverman will feature Native American artist Julie Buffalohead. John Szoke Gallery plans to present works on paper by Pablo Picasso and Edvard Munch.

Marc Selwyn Fine Art and David Nolan Gallery will collaborate on a salon-style installation of 20th-century works on paper. David Lusk Gallery will bring together Red Grooms, Maysey Craddock, Greely Myatt and Jared Small, four artists born in the American South, reinforcing the fair’s increased attention to perspectives beyond the dominant coastal art centers.

The preview gala introduces another major change. The Whitney Museum is the beneficiary partner for the first ADAA Fair, with proceeds supporting its education and artistic programs. The earlier Art Show partnered with the Lower East Side social-services organization Henry Street Settlement for 36 years, generating more than $38 million in charitable support before that relationship ended.

The Whitney partnership shifts the fair’s gala proceeds directly into the visual-arts ecosystem. ADAA officials have described the arrangement as part of a mission-driven strategy linking galleries, artists and museums. The gala is expected to bring together collectors, curators, advisers, artists and dealers for an early view of the booths before public admission begins.

The fair will also collaborate with the inaugural Art Week NYC, a cross-promotional initiative hosted by Artforum, Art in America and ARTnews. That connection places the ADAA event within a broader November program intended to highlight New York galleries, museums and contemporary-art organizations.

Organizers have not yet released the complete public-program schedule, special initiatives or detailed visitor programming. Those announcements are expected in the coming months. The initial exhibitor list nevertheless makes the fair’s direction clear: a smaller national roster, carefully structured presentations and an emphasis on dealer expertise rather than the scale commonly associated with international art fairs.

For galleries, the November edition will test whether that focused model can generate strong attendance and sales while limiting some of the pressures created by larger events. For visitors, it offers a concentrated view of American art dealing across generations, regions and specialties inside one of New York’s most recognizable cultural venues.