Clio Art Fair’s 18th Edition Opens with a Bold Celebration of Independent Art and Live Performance

The first week of Clio Art Fair’s 18th edition has officially wrapped up—and what a powerful opening it was. From May 1 to May 4, 2025, New York’s Chelsea neighborhood buzzed with the energy of unfiltered creativity as Clio returned to 528–532 West 28th Street with a curated showcase of independent voices, bold visual narratives, and an evocative performance program.

Clio Art Fair has long prided itself on being the “anti-fair” fair—offering an alternative to the glitz and exclusivity of the traditional art world. True to its mission, the 18th edition embraced a democratic, intimate setup that made art feel accessible, human, and alive. With over 35 self-represented artists from around the globe featured during the first week alone, the fair offered a dynamic cross-section of contemporary practices, ranging from sculpture and photography to painting, mixed media, and installation.

But unlike many other fairs where booths separate artists from audiences, Clio fostered genuine interaction. The open layout and absence of commercial frills allowed viewers to move freely and engage deeply with the works and the artists behind them. Conversations unfolded naturally. Curiosity was welcomed. And above all, art was experienced—not just observed.

What truly elevated the first week of the 18th edition was its performance series, “Behave As If God Exists.” This special project wasn’t just an add-on—it was a philosophical core, inviting audiences to step into live explorations of identity, technology, spirituality, and morality in the post-human era.

Opening night, Nadine Azoulay’s “What’s Next For Humanity?” set the tone with a haunting and immersive meditation on our species' direction in the age of AI. The performance was both confronting and poetic, asking viewers not only to witness, but to feel the anxiety and potential of a rapidly shifting future.

Shortly after, Viruscella took the stage with “Mr. Roboto,” blending surreal costume, movement, and digital sound to blur the lines between man and machine. The performance evoked questions around autonomy and programming—are we still the architects of our actions, or merely responding to algorithms in disguise?

On May 2, Holly Crawford presented “I’m Almost Human, Please Plug Me In”—a conceptually rich performance infused with humor and irony. Her work played with the tension between vulnerability and mechanization, highlighting how deeply intertwined our bodies and devices have become.

On May 3, Liz Miller’s “Ritual” created a rhythmic and ceremonial atmosphere that closed the week’s live events on a reflective note. Drawing from mythic structures and collective memory, the performance functioned as both a critique and celebration of spiritual ritual in the digital age.

What stood out this week was the fair’s atmosphere—a sense of openness that one rarely finds in large art events. With free general admission from May 2 to 4, Clio invited a wide mix of art lovers: collectors, curators, young students, families, and casual passersby. The energy throughout the venue was generous and engaged, with many returning attendees noting how refreshing it felt to explore art in such a grounded and non-commercial environment.

Between performances, guests could explore a rich variety of artworks spread across the venue, discover new voices, and enjoy a slower, more mindful viewing experience. Many visitors remarked that Clio felt more like a curated group show than a traditional fair—intimate, unexpected, and full of discovery.

While the first week of Clio Art Fair’s spring 2025 edition delivered a powerful and moving experience, there’s more to come. Week two (May 8–11) promises an entirely new roster of artists and another round of performances as part of the ongoing “Behave As If God Exists” series.

But even as anticipation builds for what’s next, Week One leaves behind a clear message: Clio Art Fair is not just about showing art—it’s about sharing ideas, starting conversations, and shifting perspectives. It is a reminder that the independent art scene is not a fringe—it's a force.