At White Cube’s booth, the Colombian-born, New York-based visual artist Ilana Savdie brings a visceral intensity to painting. Her new canvases and works on paper are presented in dialogue with historical artists including Louise Bourgeois, Leonor Fini, Hans Bellmer and Salvador Dalí. Drawing on the exuberance of her hometown Barranquilla’s carnival, Savdie combines saturated pinks, purples and greens with beeswax, blurred colour and thick, tactile marks. Figures mutate across her surfaces, slipping between the grotesque, the comic and the seductive. Beneath the visual excess lies a sharper inquiry into identity and power, with the exaggerated body becoming a vehicle for transgression and protest.

What does home mean when memory becomes unreliable? At Frieze London, Edel Assanti approaches the question through a site-specific installation by Marcin Dudek, who reconstructs elements of his childhood home in a Kraków housing estate. Visitors pass through a doorway into a compressed domestic interior, where works by artists including Thornton Dial, Lonnie Holley, Sheida Soleimani and Vinca Petersen explore belonging, displacement and reinvention. Soleimani’s “Ghostwriter” photographs, reflecting on her parents’ activism and migration from Iran, offer one particularly intimate perspective. Together, the works transform Dudek’s architecture into a psychological landscape, suggesting that home is less a fixed point of origin than something continually reshaped by memory and experience.

Travel photography often presents destinations as polished fantasies. To Seek, To Find, the first photography exhibition by the luxury travel specialist Mr & Mrs Smith, proposes a more personal way of looking. Curated by Brandei Estes, acting senior curator of photographs at the National Portrait Gallery, it brings together 10 photographers, including Tina Barney, Paolo Di Lucente, Isabelle Young and the late Martin Parr. Taking its title from Tennyson’s “Ulysses”, the exhibition celebrates curiosity and discovery beyond the obvious. The exhibition features documentary, fashion, fine art and editorial photography. It’s open to the public on 16 and 17 October, and supports the Human Dignity Trust, with all profits from print sales donated to the charity.

For a different kind of encounter, head to George, the private members’ club on Mount Street, where Rex Southwick’s paintings will be presented alongside works by David Hockney. The pairing creates an intergenerational dialogue around landscape, architecture, memory and the ways we construct our surroundings. Southwick’s psychologically charged compositions draw on personal experience, cinema and art history, balancing seduction with unease. Away from the conventional gallery environment, his paintings become part of the club’s social and cultural life, offering a more intimate perspective on one of the most interesting voices in contemporary British painting.

Presented by Hauser & Wirth, Angel Otero’s “Dreams And Salt” (2025-2026) centres on a plywood door embedded diagonally in the earth, left ajar to reveal a staircase descending into an unseen space. For the artist, who moves between Puerto Rico and New York, this meditation on migration destabilises our understanding of an everyday object. Set within Regent’s Park’s English Gardens, the sculpture invites viewers to consider what lies beneath the surface, both physically and psychologically. Frieze Sculpture offers a compelling counterpoint to the intensity of the indoor fairs and is free to visit.

Anish Kapoor remains one of the artists most capable of making us question what we think we see. At Frieze Masters, Galleria Continua turns its attention to a pivotal moment in his practice, presenting nine dark-glazed ceramic sculptures from 1994 alongside “Not Eve” (1989), made from sandstone and pigment. Their hollows evoke bodily cavities, transforming solid forms into spaces of absence, ambiguity and introspection. Across a career spanning five decades, Kapoor has explored voids, pigment and the unstable relationship between an object and the space around it. Here, ceramics become a site of material and metaphysical inquiry. For those familiar with Kapoor’s monumental public sculptures, this presentation offers a rare opportunity to encounter the quieter, more visceral foundations of his artistic language.

At Frieze Masters, Galerie Minsky brings together artists whose relationships with Surrealism extend beyond conventional labels. Leonor Fini, Dorothea Tanning and Stella Snead appear alongside Max Ernst, Paul Klee, Salvador Dalí, Pierre Roy and Stanislao Lepri. The selection moves between meticulous figuration, dreamlike landscapes and the transformation of everyday objects into something uncanny. Klee’s “Ruinen Von Al” (1926), shaped by his encounter with Florence, brings together architectural memory, Renaissance influences and modernist sensibility. Snead’s paintings, meanwhile, return to London, the city of her birth and early life. The presentation offers a broader perspective on Surrealism, revealing an imaginative world in which the boundaries between the natural and supernatural, the familiar and the impossible, remain deliberately unstable.