One of the first pieces greeting attendees is Brazilian artist Marcos Amaro’s Cockpit (2016), which features the nose of a crashed airplane with a lit chandelier inside.
While majority of the booths utilize the white walls as a clean backdrop to highlight each piece objectively, others break the mold, with New Orlean’s Red Truck Gallery hanging strings of lights across their booth’s walls for one example and New York’s Joseph Gross Gallery featuring a living room furniture display in front of its 2016 SCOPE curation for another. Now in its sixteenth edition, SCOPE is wisely organized in a grid-layout, with each gallery allotted a square booth (of various sizes) to display their artists’ work. Upon arrival, attendees are greeting first hand with the option to either instinctively dive right into viewing the plethora of installations, snapping a souvenir GIF courtesy of Gilt’s photo booth or mapping out a plan of attack while sipping illy-roasted coffee. While such a mammoth collection of art holds the potential to be overwhelming for visitors to experience, its top-notch execution and organization makes taking in art less of a chore and more of a lavish escape from the deco neighborhood’s bustling shopping and party scene.
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