Aggressively contemporary in both form and content, the Frieze art fair demands coverage by women with their finger on the pulse of the zeitgeist. Thus we bring you the eye of Olimpia Dior, the photographer who always brings the most next-level things to these web pages. And we also bring you the perspective of Olimpia’s fellow Randall’s Island traveller, Lily Baldwin, the dancer turned filmmaker whose subject matter and style never stop at what is tradition dictates, but rather always go where the culture demands.

If video art was medium of the moment yesterday, the new modern canvas is computer art, as Lilly and Olimpia quickly noticed. Whether it took the form of video game-style animations by Jon Rafman or significantly photoshopped works where the photoshopping becomes part of the signifier.

Also feeling formally contemporary, if in a more subtle way, were the piece featuring text, like the neon work by Jeppe Hein, and the “Hugs” series by Karl Holmqvist piece and text overlays that today recall Instagram and memes much as in a pre-virtual world they would have previously recalled graffiti and billboards. And the amazing busts by David Altmejd brings digital facemashing into the realm of sculpture in the best sort of post-modern way. In 2015, Richard Prince straight-up made giant ‘Gram canvases; in 2017, the virtual-social presence has already gotten a lot subtler.

As with Olimpia’s trip to Whitney Biennial, the people are as much of what make the affair a fair as the art is. New Yorkers ferried themselves out to the tent on Randall’s Island to see the art, buy the art, and also participate in the culture of art, and our Frieze duo took note.