Frieze Week for all intents and purposes, is the art world’s version of a Fashion Week. From exclusive parties, panel discussions, and gallery openings to late-night pop-ups; the week offers a perfect marriage between entertainment and commerce. Within the year Frieze takes place in London, New York, Los Angeles and Seoul. The London edition takes place each October and is arguably the most prestigious edition. It is a regular contender on the annual industry calendar for the hearts and minds of the rich, famous and notable art aficionados.

Just like at a fashion week, the optics are not only about what’s on show, but also about who is present. The collectors, the galleries, the artists all lend credence to the confidence reposed in a particular blue-chip artist. Participation at Frieze is part of a larger narrative. It acts as a reinforcement of market value, institutional validation, and cultural relevance — a kind of unspoken consensus that this artist, this gallery, or this movement is worthy of attention, investment, and canonisation. 

One of the events shaping the trends, critical discourse and tastes around contemporary art is the 154 art fair. Now in its 13th edition in London, the fair was established to highlight contemporary African artists from the continent and its diaspora. It returns to the historic Sommerset house, which will play host to over 40 galleries representing African or diasporic artists. The fair has thus far provided a much-needed platform that constantly pushes the boundary of appreciation and acceptance of contemporary African art. Its presence during Frieze week underscores the global position that African art increasingly demands in the artistic hierarchy. 

This year, the Afreximbank Art Program partners 154 to curate a special presentation entitled, Do you hear the landscape?, an exhibition that brings together a constellation of Algerian artists across painting, photography and video installation. Among the frequently participating galleries are Gallery 1957, October Gallery, and Ed-Cross Fine art who are known to represent Ghanaian artists. Although representation oF Ghanaian artists at Frieze is by no means limited to 154. 

Arguably, our cousins and everlasting rivals, Nigeria have already cemented their position as a major force on Frieze’s 2025 map. Nigerian Modernism, which opened at Tate Modern on 8th October ahead of Frieze is the first exhibition in the U.K. to trace modern Nigerian Art over a 50-year period through the expression of 50 artists such as Ben Enwonwu, Bruce Onobrakpeya, Etso Clara Ugbodaga-Ngu, Aina Onabolu, Uzo Egonu, and Susanne Wenger,  among many others. 

One of which is the Ghanaian icon and Anyako native, El Anatsui, who spent a significant part of his artistic career practising in Nigeria; including teaching sculpture at the University of Nigeria. He was a notable member of the Nsukka art movement. It’s fair to say that Nigeria is to him what Ghana is to Mr. Eazi. This landmark exhibition positions Nigerian art as central and vital to the understanding of the intellectual, political and complex cultural fabric of a post-colonial society. 

El Anatsui is not the only Ghanaian to feature in this exhibition. In fact, the curatorial visionary behind the exhibition is none other than British-Ghanaian Osei Bonsu, International Art curator at Tate Modern. This rich intergenerational cross-pollination between Ghana and Nigeria is a reflection of a broader West African artistic dialogue underpinned by shared histories and marked by a distinctly West African visual language. 

Also taking place during Frieze, is the twin exhibition, titled ‘’Go Back and Pick’’ hosted simultaneously by Goodman Gallery in Mayfair and October Gallery in Bloomsbury. It provides a glimpse into the latest works of the living legend that is El Anatsui. El as he is affectionately known is widely regarded as the most influential Black artist in practice today. The exhibition expands on his brief presence in the Nigerian Modernism exhibition at the Tate and provides a context around his artistic trajectory over the past few decades. This mouth-watering, jaw dropping exhibition gives audiences a vivid impression of what may be in store with the opening of Nigeria’s very own ”Museum of West African Art (MOWAA)” scheduled to open next month in Benin City, Nigeria.  

As if that wasn’t enough, Accra’s avant-garde gallery, Gallery 1957 is presenting two simultaneous exhibitions (outside of its 154 art fair presentation). Both shows are debut solo exhibitions for the respective artists. The first, which opened on 20th September and closes on 15th November is hosted in partnership with Emalin Gallery is the ‘’Ask Not What We Were Made for’’ a solo debut for the Ghana-based Nigerian artist Jonathan Okoronkwo, following in the footsteps of El Anatsui this time with a practice anchored in Ghana a prominent member of the Kumasi-based Blaxtarlines art movement, reminiscent of Anatsui’s contribution to the development of the Nsukka movement. 

The second is the debut solo exhibition entitled ‘’The Ones Before Her Were Covered In Gold’’ by the archivist, artist and founder of Sihene archive, Rita Mawuena Benissan. Taking place from 14th October – 20th December 2025 at the Gallery 1957 London Gallery at 1 Hyde Park Gate in the affluent South Kensington area, a stone’s throw from The Royal Albert Hall and 4 minutes drive from the Ghana High Commission in Belgravia. 

This is in anticipation of Gallery 1957’s local initiative dubbed Accra Cultural Week which will feature another 3 exhibition openings across 3 of its gallery spaces within Kempinski Hotel, Accra, launching exactly a week after a blockbuster appearance at Frieze.  

Yet another exhibition of Ghanaian art during Frieze is the ‘’Parliament of Ghosts’’, a powerfully haunting art installation by globally acclaimed Art Basel awardee and recently appointed diplomatic envoy, Ambassador Ibrahim Mahama. If you are Ghanaian, you might be confused with the well-known business man and brother to the sitting president of the same name. If you live outside of Ghana then you most likely know the Ibrahim Mahama I am referring to. Mahama has opened multiple critically acclaimed exhibitions such as The Life of Things, in the Netherlands, Zilijifa, in Vienna, Austria, as well as participating in the Thailand Biennale among others shows. Ibrahim’s exhibition marks the opening of Ibraaz’ London space which features a 6-story, 10,000 square feet space that will henceforth host a programme of exhibitions and creative events. The choice of Ibrahim Mahama as the inaugural artist sets the tone for the space and is a strong indication of the impact of his work representing the politically engaged, unapologetic artivisits of the Global South. 

While these examples are a very small fraction of the 300+ exhibitions that will be taking place across London during Frieze Week, it is a sign that African art is here to stay. Beyond being a fancy trend, the art world is paying attention and even outside of dedicated African art shows, contemporary African art is constantly embedded in and woven into the fabric of global contemporary art. Ghanaian artists not only at Frieze but all over the world are rubbing shoulders with the likes of Kerry James Marshall, who himself is currently on show during Frieze at the Royal Academy of Arts. It is for THAT reason, dear reader, that I assert that Ghana is, as per usual, punching way above its weight class. In the illustrious words of the great Azumah Nelson, ”Train like a challenger, even when you are a champion”.