­­­­Ann Agee (b. 1959) investigates domesticity, material culture, feminism, and personal history to create ceramic sculptures and mixed media installations that explore appropriation, mimicry, and reproduction. Since her residency at the Kohler Arts Center in 1991, Agee’s practice has focused on replicating objects by hand, a process employed to ape mass production by using the slowest methods possible. Individually stamped with “Agee Manufacturing Co.” or “Agee MFG”, Agee’s ongoing series of Hand Warmers (2017-2018), which will be debuted at Frieze New York, now includes over 200 small, ceramic sculptures that realistically or abstractly engage with the formal history of footwear. Inspired by the 18th-century Italian folk pottery in the collection of the Davanzati Palace in Florence, these myriad vessels tell the story of life from a woman’s point of view, referencing functional objects that were once common and cheaply obtained at market, but are now rarefied examples of women’s daily lives in the late-Renaissance. Ann Agee has had installations at the Brooklyn Museum of Art, NY and the Philadelphia Museum of Art, PA, and her work has been included in notable ceramics exhibitions, including Dirt on Delight, Institute of Contemporary Art, PA and the Walker Art Center, MN, and Conversations in Clay, Katonah Art Museum, NY.  In 2011 she was awarded the John Simon Guggenheim Fellowship, and has also been the recipient of The Louis Comfort Tiffany Foundation Award and a National Endowment for the Arts Fellowship, among others. Her works are included in the permanent collection of notable institutions including: The Brooklyn Museum of Art, NY; The Philadelphia Museum of Art, PA; The RISD Art Museum, RI; The Los Angeles County Museum of Art, CA; The Henry Art Museum in Seattle, WA; The Kohler Art Center in Sheboygan, WI; and The Museum of Contemporary Art in Miami, FL. Agee lives and works in Brooklyn.

Judith Linhares (b. 1940) paints vibrant scenes or still lifes that blend the imagined with real, everyday objects and actions. Beginning by painting broad brushstrokes of complimentary colors, Linhares creates personal mythologies from a menagerie of animal tchotchkes, vases of brilliant flowers, and alternately haunting or amusing figures. Approaching figuration through the lens of abstraction, Linhares’s work draws on German Expressionism, Neo-Expressionism, and Bay Area figuration, while also reflecting an interest in the Abstract Expressionists and their ability to create works that were at once formally coherent, monumental, and spontaneous. Judith Linhares was born in 1940 in Pasadena, California, and currently lives and works in New York. Judith Linhares came of age in the socially turbulent "take-it-to-the-streets" days of feminism, underground comics, and poetic reverie in Northern California. She graduated from California College of the Arts. In 1975, she received the prestigious Adeline Kent Award in recognition for her contributions to the art of the region. After participating in Marcia Tucker's seminal exhibition "Bad" Painting and receiving the (first of three) National Endowment for the Arts Grants, Linhares moved to New York. Her work is included in the collections of major museums including: The Whitney Museum of American Art, New York; The Smithsonian American Art Museum, Washington, DC; The San Francisco Museum of Modern Art, The de Young Museum, and the Berkeley Art Museum and Pacific Film Archive, San Francisco; the Crocker Art Museum, Sacramento; and the Yale University Art Gallery, New Haven, among many others.

Martha Wilson (b. 1947) creates conceptually based performances, videos, and photo/text compositions that address the constructions and manifestations of feminism, identity, and self-presentation. Taking herself as a subject since the early 1970s, Wilson creates transgressive portraits that address political and social issues, teasing out complexity and nuance by infusing her work with humor and playfulness. At Frieze New York, P·P·O·W will present Makeover: Melania (2017), a new video piece that extends her decades-long engagement with the politicized posture of American First Ladies, including Nancy Reagan and Barbara Bush. Makeover: Melania uses software employed in digital photo-retouching to merge Wilson’s portrait with Melania Trump’s. Over the course of a single minute, this looped video questions the metaphorical connection between beauty and virtue, strategies of representation shared between advertising and politics, and cultural ambivalence to age and experience. In 2008, Wilson had her first solo exhibition in New York at Mitchell Algus Gallery, Martha Wilson: Photo/Text Works, 1971-74. In 2009, Martha Wilson: Staging the Self, a career survey of four decades of work, was organized by Independent Curators International. In 2011, ICI published Martha Wilson Sourcebook: 40 Years of Reconsidering Performance, Feminism, Alternative Spaces. Wilson’s work is in the collections of the Museum of Modern Art, the Whitney Museum of American Art, and the Solomon R. Guggenheim Museum, New York, as well as the Sammlung Verbund Collection, Austria and the Moderna Museet, Sweden. In 2017, Wilson’s work was acquired by the Metropolitan Museum of Art, New York.