In a city where the global art world gathers each May, the return of 1-54 Contemporary African Art Fair to New York has become more than a calendar fixture—it is a defining moment. Now in its twelfth edition, the fair returns to the Starrett-Lehigh Building in Chelsea from May 13 to 17, bringing together over 20 galleries from 12 countries across Africa, Europe, the Caribbean, and the Americas . From Lagos to London, São Paulo to Nassau, the fair reflects the pulse of contemporary African creativity across continents, positioning itself not as a regional presentation, but as a global ecosystem of ideas, practices, and exchange.
Over the years, 1-54 has grown from a necessary intervention into a leading platform shaping how African and diasporic art is experienced, understood, and valued internationally. Founded in 2013 by Touria El Glaoui, the fair was conceived to address the lack of visibility and structural support for artists from the continent and its diaspora. Today, it operates across London, Marrakech, and New York, each edition shaped by its local context while contributing to a broader global narrative. The New York edition, in particular, sits at a critical intersection—where market, institutions, and diasporic communities converge—creating a space where visibility has the potential to translate into long-term cultural and economic value.
For Africans Column, the opportunity to speak with Touria El Glaoui comes at a pivotal moment for the fair and for the wider field it represents. As this year’s edition introduces new curatorial directions, including 1-54 Presents: Brazil Beyond Brazil, alongside an expanded programme of special projects exploring the Black Atlantic, environmental justice, and collective identity, the conversation moves beyond visibility into deeper questions of agency, narrative, and responsibility. In this interview, El Glaoui reflects on the evolution of the fair, the significance of the New York edition, and the role 1-54 continues to play in shaping the global discourse around contemporary African and diasporic art.
Africans Column: Over more than a decade since founding 1-54 Contemporary African Art Fair, the fair has grown into a leading global platform for contemporary African art. Looking at the New York edition today, what do you feel has most fundamentally shifted in how African and diasporic artists are positioned within the global art market?
Touria El Glaoui: The shift is fundamental. Artists from Africa and its diaspora are no longer positioned as a niche category. They are central to contemporary art discourse. What has changed most is agency. Artists, curators, and galleries are shaping their own narratives. Visibility has grown, but institutional support and market parity still need to catch up.
Africans Column: Each edition of 1-54—London, Marrakech, and New York—has developed a distinct identity. How do you approach shaping the New York edition specifically, and what role does the city itself play in influencing its direction?
Touria El Glaoui: Each city brings its own rhythm and audience, and New York is particularly dynamic in that sense. It is a place where different art worlds intersect—commercial, institutional, and independent—and that creates a very specific energy. The New York edition is shaped with that in mind: it is more focused, but also very intentional in how it connects artists and galleries to collectors, curators, and institutions. The city itself pushes us to think globally while remaining precise in our presentation.
Africans Column: This year marks the twelfth edition of 1-54 New York, bringing together over 20 galleries from across Africa, Europe, the Caribbean, and the Americas. What excites you most about this particular edition, and what should audiences be paying close attention to?
Touria El Glaoui: What feels especially strong this year is the range of conversations unfolding across the fair within a relatively intimate format. There is a real sense of dialogue between galleries from different geographies, creating meaningful encounters and connections. Alongside this, 1-54 Presents: Brazil Beyond Brazil, curated by Igor Simões, brings a focused and critical lens on Afro-Brazilian artistic production, expanding how the diaspora is understood across histories and geographies.
The Special Projects and Special Installations further extend this, introducing works that engage with themes such as environmental justice, Black ecologies, and the Black Atlantic. Projects like Black Forest, Vilanismo, and TM Arthouse move between research, installation, and collective practice, while the Special Installation with DAVID KRUT ARTS x kumalo | turpin brings together intergenerational voices and material experimentation. Together, these elements create multiple points of entry into the fair.
This year also includes a curated lounge by ONMT, which reflects an ongoing interest in creating spaces for encounter and exchange within the fair itself. Audiences should take the time to move between these elements, as there is a strong emphasis on work that is both conceptually rigorous and deeply connected to broader social and historical questions.
Africans Column: The curated focus 1-54 Presents: Brazil Beyond Brazil, led by Igor Simões, introduces a deeper engagement with Afro-Brazilian artistic production. What motivated this direction, and how does it expand the fair’s broader diasporic narrative?
Touria El Glaoui: The focus on Brazil comes from an ongoing interest in expanding how we think about the diaspora. Afro-Brazilian histories and cultural production are deeply connected to the African continent, yet they are often discussed separately. Working with Igor Simões allows us to approach this with depth and care, highlighting artists whose practices reflect complex histories of migration, resistance, and identity. It is not about adding another geography, but about strengthening existing connections.
Africans Column: Many first-time exhibitors are joining the fair this year alongside returning galleries. How important is this balance between continuity and new voices in maintaining the fair’s relevance, and what does it say about the current moment in contemporary African and diasporic art?
Touria El Glaoui: That balance is essential. Returning galleries provide continuity and help build long-term relationships with collectors and audiences, while new participants bring different perspectives and energy. The presence of first-time exhibitors this year reflects a broader momentum within the field. There is a growing ecosystem of galleries engaging seriously with artists from Africa and its diasporas. It signals a moment of expansion, but also one that requires careful support.
Africans Column: 1-54 has consistently expanded beyond a continental framing to embrace the full scope of the African diaspora. How do you see the conversation around “African art” evolving today, and in what ways does the fair actively shape these narratives?
Touria El Glaoui: The term “African art” continues to evolve, and it is important to approach it as a point of departure rather than a fixed category. Today, the conversation is less about geography and more about context, histories, and lived experiences. At 1-54, we try to create a space where these complexities can exist without simplification, where artists can be seen within global conversations while still acknowledging the specificities of their practices.
Africans Column: The Marrakech edition remains deeply significant as a moment of return to the continent. How does your experience of Marrakech continue to inform the vision of the fair across its international editions?
Touria El Glaoui: Marrakech remains foundational. It is the only edition that takes place on the continent, and that proximity brings a different kind of engagement with local audiences, artists, and institutions. It is also a moment of grounding for the fair. The experience of Marrakech informs the other editions by constantly reminding us of the importance of context, of dialogue, and of remaining connected to the places and communities that shape the work.
Africans Column: Over the years, we’ve seen increasing institutional and collector interest in African art. From your perspective, how has the profile of collectors engaging with 1-54 evolved, particularly in New York, and is there still a gap between visibility and value?
Touria El Glaoui: The collector base has expanded significantly, particularly in New York. There is a growing number of collectors who are deeply engaged and knowledgeable, many of whom have been following the fair for several years. At the same time, new audiences continue to discover this work. The gap between visibility and value still exists in some areas, particularly in institutional acquisitions, but it is narrowing as understanding deepens and long-term commitments are made.
Africans Column: Across its editions, 1-54 has increasingly incorporated curated sections, talks, and special projects. How do you see the role of curatorial framing evolving within an art fair context today?
Touria El Glaoui: Curatorial framing has become increasingly important within art fairs. It allows for deeper engagement and provides context that goes beyond individual presentations. Sections like 1-54 Presents or the Special Projects create space for more focused narratives and collaborations with curators, which enrich the overall experience of the fair. It is about creating layers where visitors can move between discovery, research, and dialogue.
Africans Column: As the founder of a fair that has played a defining role in shaping global visibility for African artists, how do you think about responsibility—and what do you hope audiences take away from the 2026 New York edition beyond the artworks themselves?
Touria El Glaoui: With that visibility comes a certain responsibility to remain thoughtful, to support artists and galleries in a meaningful way, and to contribute to a more equitable art ecosystem. Beyond the artworks, I hope audiences leave with a sense of connection—whether that is to an artist, a story, or a broader history. The fair is ultimately about exchange, and about creating a space where different perspectives can meet and resonate.
1-54 New York 2026 arrives at a moment when African and diasporic art is not only gaining visibility, but actively reshaping the contours of contemporary culture. Through its careful balance of galleries, curatorial depth, and expanded programming, the fair continues to move beyond representation toward a more complex and interconnected understanding of global artistic production. As Touria El Glaoui suggests, the significance of 1-54 lies not only in what is presented, but in the space it creates for dialogue, exchange, and long-term transformation—making this year’s edition not just an event to attend, but a moment to engage with the future of art itself.
