Minor Attractions returns for its fourth and largest edition, taking over 16 rooms at The Newman with more than 75 international participants. For collectors, the appeal is not simply that it is smaller than the major fairs, but that its hotel format changes how art, galleries and audiences meet.

Yelin Lee's Ghost Play transforms emojis into sculpture, uses chroma-key screens and a two-minute delay, and turns visitors into their own fleeting afterimages.

In her first UK institutional exhibition, Evelyn Taocheng Wang turns mistranslation, Agnes Martin, Chinese literati painting and fantasies of Britain into a deliberately unstable language of identity.

From Robert Ryman and Lorna Simpson to Mary Ramsden, Martine Syms and Nicola Turner, the strongest London route during Frieze week begins outside the fair.

From the Polder Sofa to Frog Table and 300 coloured vases, Hella Jongerius has spent three decades proving that industrial design can retain craft, variation and material intelligence.

Gagosian’s ambitious London exhibition places René Magritte beside more than forty artists. For collectors, its real value lies in separating meaningful artistic inheritance from superficial resemblance — and in seeing why Magritte’s central problem, the unstable relationship between image and reality, feels newly urgent.