For those experiencing Art Fair Philippines with fresh eyes, its 12th edition delivered a visual overload—this time outside of the familiar parking lot. The new venue, sprawling across the Ayala Triangle Gardens, offered galleries higher ceilings and greater flexibility in presenting works. A prime example was Manuel Ocampo’s massive prints, on loan from the Singapore Tyler Print Institute, which took center stage in the Art Fair/Projects space. Installed with a sense of reverence, it was a clear sign that AFP has quite literally outgrown its former venue.
The author spoke to gallerists and curators to gather their insights on this year’s edition. Jia Estrella of J Studio shared, “I like the easier accessibility to the [venue] because that was the major complaint in the past. Although, some of my kids still like the vibe of the parking lot and they kind of miss that. Given the new location, I think it works for what is needed at this time.”
Shyevin S’ng, Gallery Director of Vin Gallery in Vietnam, added, “I think the new venue is very exciting. However, it does feel a bit spread out. Our gallery is in Tower One, and I like it here. The tents and higher ceilings are beautiful, but I wonder if they could be consolidated a little bit more.”
Karina Broce-Gonzaga, gallerist of Block 17 in Bacolod and a collaborating artist in Triangulum, noted the shift in atmosphere: “This is refreshing. There's more freedom to play around with the layout. You can see how people are walking around—they're moving more leisurely. It feels more relaxed.”
Art Fair Philippines is maturing into a platform as competitive as its counterparts in neighboring regions, despite being challenged by the infrastructural limitations typical of a developing country. Most complaints that went viral in the lead up to the fair came from Makatizens. Accessibility was a pain point: the fair’s two towers are separated by stairs which the organizers addressed by offering a free pedicab ride to and from Tower One’s exit to Tower Two’s entrance with an escalator. Some even anticipated failing aircons but not in its prominent spaces like the Projects.
Public programming has been abundant in various public spaces, including the gardens and underpasses leading to Ayala Triangle Gardens. These spaces were activated as part of the 10 Days of Art program, providing an alternative for art enthusiasts. Public art, being freely accessible, naturally sparked conversation—photographer Jilson Tiu, for instance, compared iSpy’s Barrier Tape 2 to the aftermath of a flood in Marikina. Regardless of the critiques, the public engaged with this particular installation an entire week after the fair ended.
Incubator spaces and regional exhibitors were not as prominent in this edition as in previous years, making the presence of young collectives such as Triangulum, TLYR, and Art Fair/Digital’s Kakakompyuter Mo Yan! stand out. Their inclusion highlights the fair’s continued support for emerging artists and new media art.
Jopet Arias, one of the key figures behind TLYR (formerly CryptoArt Philippines), noted how their presentation has expanded beyond crypto art to encompass broader new media practices. “AFP was one of the first to trust us, so it holds a special place in our hearts. They took care of us, saw us from where we started—and that’s a big risk, giving space to young artists. We were literally nobodies. The galleries didn’t know us,” Arias said, recalling their debut at AFP in 2023 as the first Art Fair PH/Digital feature under Crypto Art. “Not all galleries would carry the type of art we’re doing. Most of it is new media, and it’s very hard to sell. But now, we’re seeing the market respond to digital art, and we’re grateful to AFP for taking that risk on us. It’s rare for people and institutions to do that.”
Arias also pointed out that the fair has played a role in legitimizing fair pricing for Filipino digital art. “This year marks our biggest sales since we started,” he shared, emphasizing how AFP has allowed them to price digital works competitively alongside international counterparts while noting that what they offer for sale are smaller works, appropriate for the local market.
For artists like Karina Broce-Gonzaga of Triangulum, the fair provides an opportunity to push creative boundaries.
“From an artist’s perspective, there’s more space to present bigger works and to keep pushing our own limits. That’s what we always talk about in Triangulum—how do we challenge ourselves, not necessarily for the audience’s satisfaction, but for our own growth? How do we break down the self-imposed fears that come with being artists and creatives?”
Broce-Gonzaga also reflected on the significance of the fair for artists based outside Metro Manila. “AFP pushes the boundaries for Filipino artists. For us coming from the provinces, it’s an eye-opener—especially when we don’t have access to many galleries. It’s refreshing to witness this, go back home, and educate ourselves on the bigger picture of Philippine art. We get to mirror what we see here in our own spaces, experiment, and return the following year with something new to contribute.”
The inclusion of artist-led collectives remains a commendable aspect of AFP, as their presence is not measured by sales figures in the same way as established galleries, but rather by their role in shaping artistic discourse and expanding creative possibilities.
Tickets priced at Php 750 (the same as last year) for a day pass is a significant ask for the average Filipino, among them are artists, students, and cultural workers. Artist Leslie de Chavez mentioned this in passing in the last session of the public talks.
“Nandito tayo sa Art Fair, pero sino lang ba nakakapunta sa art fair? Siyempre yun lang merong 750 and merong digital pass. But how about a community na pwede nating dalhin? What if we can sponsor a whole barangay or a whole school. Bringing them to Art Fair and then we tour them around?”
"For the past three years, we’ve been focusing on regional fairs like Art Fair Philippines and Art Jakarta. These are the types of fairs we truly enjoy, and we look forward to seeing more of them with strong curatorial direction in their regional sections. It’s refreshing to see more than just big galleries bringing the same big-name artists year after year," says Shyevin S’ng, Gallery Director of Vin Gallery in Vietnam.
She adds, "I think Art Fair Philippines did a very, very good job with its VIP program. During the vernissage, I observed a high caliber of collectors, something I don’t see as often at other fairs."
First-time participant Scarlette Lee of Malaysia’s Core Contemporary shared her perspective: "I’ve visited this art fair before, but this is my first time participating. AFP is a regional art fair, yet it attracts around 40,0001 visitors—that’s amazing. In other countries, art fairs often rely on international visitors. For example, Singapore needs to bring in audiences from abroad to sustain their fairs. But AFP is self-sustaining."
AFP’s VIP tickets, which provided access to the vernissage and all days of the fair, are not sold publicly. These tickets are typically given to participating galleries' guests or allocated at the discretion of the fair’s organizers. In contrast, Art Basel Hong Kong—known for its strong VIP program—offers a Premium+ Discovery ticket, a bespoke experience priced at HKD 12,800 (approximately PHP 95,336) for a single day at the fair. Collectors must apply for this ticket, possibly as a way to ensure the presence of serious buyers.
Residencies played a less prominent role at this year’s Art Fair Philippines. Two foreign curators received the residency grant in partnership with the Ateneo Art Gallery, but their local engagements—if any—were not immediately visible at the fair or during the talks. This shift may signal new opportunities for Filipino artists to gain exposure to international curators and gallerists, much like how the fair introduces Filipino collectors to new regional artists.
Vanini Belarmino, curator, producer, writer, and founder of Belarmino Partners, shared her perspective as a visitor: “This is the third time I’ve visited Art Fair Philippines in 12 years, yet each experience has been a joyful encounter with the breadth of contemporary Filipino art. Having lived abroad for the past 25 years, I find that the collective presence of local galleries—each working with artists at different stages of their careers—provides a compelling glimpse into the trajectories of artistic exploration. It reveals where artists stand in their current practice and hints at the directions they might take.”
She further emphasized the fair’s growing relevance beyond local audiences:
“From my perspective as an independent curator working internationally, Art Fair Philippines has firmly established itself as a vital platform within the local art ecosystem. It effectively engages a broad spectrum of audiences—including commercial galleries, emerging and established artists, collectors, art enthusiasts (particularly younger generations), and key stakeholders. Having built a strong foundation locally, Art Fair Philippines holds great potential for positioning itself globally.”
The openness of Filipino collectors to international artists was also noted. “Filipino collectors are very open,” shared Scarlette Lee. “Of course, they have their preferences and are more familiar with Filipino artists, which is common in any country. Collectors often start by supporting their own, but Filipino collectors also show interest beyond their borders, which is a good thing.”
Shyevin S’ng offered insight into the Philippine art market’s stability: “Trends shift every year—sometimes people like this, sometimes they like that. But compared to other regions and countries I’ve been to, Manila’s art scene remains quite stable in terms of growth and interest in art.”
The recent changes at Art Fair Philippines suggest its evolving role as the country’s flagship regional fair. At its core, AFP aims to bring contemporary Filipino art—especially those exhibiting abroad— to be experienced locally. For local galleries, the fair serves as a strategic platform to introduce emerging artists, though prioritizing best-selling or familiar names remains a practical financial decision. After all, events of this scale can significantly impact a gallery’s annual budget.
As viewers, it’s important to recognize that AFP is a privately run fair that primarily showcases Filipino artists with international exposure. If ticket prices continue to rise to match its regional counterparts, the fair risks alienating its intended audience. At the same time, higher prices come with greater expectations, and some visitors have noted encountering works from previous editions rather than new presentations.
Compared to government-supported art fairs, AFP has set a high standard for local exhibitions and shown responsiveness to feedback. Privately funded fairs have more flexibility, allowing for innovations that publicly funded events may not always afford. This also raises the question of what government-backed fairs are doing for artists, given that they rely in part on public funding.
Ultimately, AFP’s ambitions trickle down to galleries and artists, challenging them to present works suited for a regional platform. It also serves as a space for artists to observe market trends and audience reception. However, for both exhibitors and visitors, participating in the fair comes at a cost—one that requires thoughtful consideration and, in many cases, financial planning.
[1] This figure was mentioned by Scarlette Lee during the interview. 40,000 visitors were recorded for AFP’s first online edition in 2021. A BusinessWorld article reports 25,000 visitors over 3-day public days in 2024. Art Fair Philippines has not been able to provide the author figures for its 2025 edition at the time of writing.
Author's Note: Quotes have been edited for clarity and brevity.