Karl Beckmann, Drawing Room of Prince Wilhelm of Prussia in the Palace at Berlin, ca. 1840, watercolour on paper, Collection Charlottenburg Palace, Berlin

Alison Tyne, Untitled, 2008, photograph

Richard Hamilton, Just What Is It That Makes Today's Homes So Different, So Appealing?, 1956, collage

Lee In-sung, Summer Interior, 1934, watercolour on paper, 89 x 171 cm, Ho-Am Art Museum

John Robert Cozens, Lake of Albano and Castel Gandolfo, ca. 1777, watercolour

Fernand Pelez, Interior of a Bedroom, watercolour, collection Mario Praz, Rome

Suh Do Ho, Seoul Home/LA Home/New York Home/Baltimore Home/London Home/Seattle Home, sewn fabric, 1999, detail

Oh Hein-kuhn, Choi Jeong-hwa and Kim You-Sun, 'Ssak', 1995, installation view. Exhibition in a residential building scheduled for demolition

William Kurelek, The Batchelor, 1995, mixed media on hardboard

Anonymous, Lombard Interior, ca. 1850, watercolour, Contessa M. Stucchi Giuntini collection, Florence

Oh Chiho, House That Faces South, 1939, oil on canvas, 79 x 64 cm, National Museum of Contemporary Art

Kim Ki-chang, Listening, 1934, colour on silk, 193 x 130 cm, private collection

Jung Yeondoo, Evergreen Tower, 2001, 32 colour photographs, each 55 x 80 cm

Jung Yeondoo, Evergreen Tower, 2001, 32 colour photographs, each 55 x 80 cm

Kim Junghyun, The Spring Scene, 1936, colour on paper, 54.2 x 106 cm

K. A. Beine, Room in the Villa Dackenhausen at Castellammare, 1842, watercolour on paper, collection Don Augustino Chigi, Rome

Vanessa Bell and Duncan Grant, music room installed at Alex Reid and Lefevre Gallery, 1932, illustrated in Derek Patmore's Colour Schemes for the Modern Home, 1933

Vanessa Bell, painted panels, part of decorated rooms for Mary and St. John Hutchinson, London, as illustrated in Vogue, 1926

Duncan Grant, The Doorway, 1929, oil on canvas, 88 x 77.5 cm, Arts Council Collection, Hayward Art Gallery

Duncan Grant, Interior, 1918, oil on canvas, 163 x 174.8 cm, Ulster Museum, Belfast

Dirk Bouts, Last Supper, 1464-1468, oil on wood, central panel of Altarpiece of the Holy Sacrament, Saint Peter's, Louvain, Belgium

Jan van Eyck, Giovanni Arnolfini and His Bride, 1434, oil on wood, approx. 2'8" x 1'12", National Gallery, London

Jan van Eyck, Allegory of the Art of Painting, 1670-1675, oil on canvas, approx. 4'4" x 3'8", Kunsthistorisches Museum, Vienna

Jan Vermeer, The Letter, 1666, oil on canvas, approx. 1'6" x 1'3", Rijksmuseum, Amsterdam

William Hogarth, Breakfast Scene from Marriage à la Mode, ca. 1745, oil on canvas, 2'4" x 3', National Gallery, London

Jean-Baptiste-Simeon Chardin, Grace at Table, 1740, oil on canvas, 1'7" x 1'3", Louvre, Paris

Henri Matisse, Red Room (Harmony in Red) 1908-1909, oil on canvas, 5'11" x 8'1", State Hermitage Museum, St. Petersburg

Edward Hopper, Nighthawks, 1942, oil on canvas, approx. 2'6" x 4'9", Art Institute of Chicago

Apartment, photograph, ca. 1958, The House of Life by Mario Praz , Milan

Adolph von Menzel, Artist's Room in the Ritterstrasse, Dahlem Museum, Berlin

Frank Lloyd Wright, Robie House, Chicago, Illinois, 1907-1909

Ins Choi, Kim's Convenience, 2011, photograph by Dahlia Katz

Covered box, 12th century, 1.75" x 4.8", lacquered wood inlaid with mother of pearl, Tokyo National Museum, TH-466

Sutra box, 14th century, 10.1" x 9.1" x 10.75", lacquered wood inlaid with mother of pearl, private collection

Suh Do Ho, Fallen Star 1/5, 2008-09, ABS, basswood, beech, ceramic, enamel paint, glass, honeycomb board, lacquer paint, latex paint, LED lights, pinewood, plywood, resin, spruce, styrene, polycarbonate sheets and PVC sheets ,131" x 145" x 120"

Suh Do Ho, Fallen Star 1/5, 2008-09, detail

Unidentified Artist, Tiger and Cubs, 18th century, ink and colours on silk, Cincinatti Art Museum

Yes, Etobicoke

New year. New vistas. Featuring emerging artists

Adeeba Aslam, Genesis, acrylic on canvas, 16 x 20 cm

Detail view. Love all that texture and movement. This little painting reads so much larger than its actual size.

Heejung Shin, Passerby, acrylic, pigment and hanji. Hanji's a handmade paper from Korea. The pulp is derived from the mulberry tree.

Detail view. Loving how this looks precise and chaotic at the same time.

Emma Goudie, Foraging Bracken Fern, 2024, wood, gouache and thread. I'm a sucker for dioramas and pop up books.

Della Vaz, How I Love You, oil on canvas, NFS

Chloe Serenko, September 19th, acrylic and sand. A nod to the city of Toronto clearing away encampments in several public parks over the course of September 2021

Grace Vali, Lakeside Haven, screenprint

AJ Mitchell, Northern Ontario, mixed media, "NORTHERN ONTARIO is broken, no one belongs, not even the hicks, it's suffocating."

Heejung Shin, Passerby

Detail view

Angela Hoang, What happened at 1:52 pm?, oil on canvas

Jasmine Vanstone, Persephone's Panganat-Coolie, digital collage. The reordering presmise of the collage creates a new grammar out of preexistings signs — ties in well with the show's theme.

Klara VY, Urban Fabric

Can't recall ever seeing carpeted wall at a gallery. It's not a bad idea. The carpeted cube sounds so much more inviting and cozy than the white cube.

Detail view. From up close, Urban Fabric is made up of many colours.

Zara Garcia-Alvarez, Hugging Mommy, mixed media

Vanna Nguyen, Pith Meditations, ink transfers on tangerine peels

Aquil Virani, Our World is Made of the Stories We Tell Ourselves, photograph. Digital technology has smoothed the surface of a collage. There are no cut edges or residue from glue.

Rachel Del Bono, Fruity As Fuck, oil on canvas.

Hadeel Al Zoubi, Bridging Ages & Spaces No. 1, mixed media. This was one of many artworks that was Not For Sale (NFS).

Bridging Ages & Spaces No. 1, detail

Malariny Murugathas, Kadhale, acrylic on canvas. A shout out to Fragonard's The Swing (1767). Google telling me kadhale means love in Tamil

Parastoo Haddadi, Let's Dance, mixed media on canvas

Parastoo Haddadi, Let's Dance, detail

Gallery View

Park Seo-bo, Ecriture no. 6-73, 1973, pencil and oil on canvas, 130 x 162 cm, collection of Park Seo-bo Arts and Cultural Foundation

Kim Jeong-heon, Creating Affluent Life — Lucky Monoryum, 1981, oil on canvas

Seongnam Project, 1998, colour photograph, Inhabitants Art Series

Hong Sung Dam, A United World I, 1984, woodcut print

Kim Whanki, 10-X-73No322, 1973, oil on canvas, Whanki Museum

Shin Hak-chul, State Monopoly Neo-Imperialistic Capitalism from Modern Korean History, 1990, collage

Lee Dong-youb, Situation, 1977, acrylic on canvas, collection of the artist

Geolgae geurim (banner painting) of pro-democracy martyr, Jeon Tae-il, 1988, workers' rally at open air theatre, Yonsei University

Kim Whanki, Rondo, 1938, oil on canvas, National Museum of Contemporary Art

Choi Byŏng-su, Save Han-yeol!, 1987, geolgae geurim (banner painting) — a format of art used in protests and inspired by gwaebul (Buddhist paintings of monumental dimensions). Han-yeol was a university student who became a martyr of the June Democracy Movement in 1987. He was fatally shot with a teargas canister by riot police.

View of Seoul, author's photograph, 2016

Cover of Worker — Steel and Light of Tears, a journal of photography and literature, 1989. The words on the worker's body read: "Let's expel violent terrorism with the conscience of the people."

Lee Ufan, From Line, 1974, glue and stone pigment on canvas, Nantenshi Gallery

Avatamsaka (Flower Garland) sutra, illuminated frontispiece, Vol.78, gold pigment on mulberry paper, ca. 1350, Cleveland Museum of Art. Intended as objects of religious merit, illuminated sutras were commissioned by the royal family and aristocrats as gestures of prayer for a long line of descendants, to recover from illness and protection from foreign invasion. Requiring precious materials and painstaking labour, these dazzling objects of piety also invited criticism for being extravagant and wasteful.

Avatamsaka Sutra, Vol. 78, 11th-12th century, woodblock print mounted as handscroll, ink on paper

Oh Youn, Marketing V — Scenes of Hell, 1980, oil on canvas

Opening Night. Put on a red lip and your nicest black turtleneck. Time to see some art.

So much art! So little time!

Didn't catch the title of this one though I've affectionately named it Jaba. There's a zipper that lets you inside.

Patchwork of plastic bags and a nod to one of Canada's largest grocery chains

Nicholas Crombach, Weisels, 2024, found objects, ceramic, cement, steel, flocking paint, 27 x 28 x 16 in. One of the more creepy and captivating things at the fair. Must try velvet flocking with the kids.

Nicholas Crombach, Birds, 2024, detail view, found objects, ceramic, cement, steel, flocking, paint, 39 x 28 x 16 in. Anyone reading Hollow Kingdom by Kira Jane Buxton? Pet crow meets zombie apocalypse.

Was awe-inspired to discover this is a watercolour painting. By Radenko Milac.

Feels like Tribeca, after a very long night.

With watercolour there is no turning back. The light is the unpainted surface. The green flecks are from the ceiling lights.

Renée Condo, Glooscap, 2024, wood beads, acrylic paint, epoxy on wood panel, 105 x 187 in

Renée is an artist of Mi'gmaw ancestry. She has a deep philosophy on the power of the bead and its contemporary expression of the Mi'gmaw worldview. Her colour choices are fresh and vibrant.

Gio Swaby, Together We Bloom, 2024. Swaby is a Bahamian visual artist based in Toronto. A highlight for me at the fair. This piece incorporates fabric and thread on canvas. Reminded me of the heroine in Han Kang's novel, The Vegetarian