The most resonant pieces at Frieze revel in their ambiguity. Casey Kelbaugh/CKA

Every year, New Yorkers eager to see what’s new at the city’s edition of Frieze trek out to The Shed at Hudson Yards, a building used for this art fair, a silly play about Robert Moses and presumably other purposes. Standing in the VIP lounge on the top floor, I gazed out on Thomas Heatherwick’s Vessel, newly reopened with suicide nets, and wondered aloud to my colleagues whether said nets would save more lives than an encouraging slogan from Lady Gaga. Art can be quite powerful, you know.

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I should clarify that none of us wanted to kill ourselves. As for the dealers, it’s always hard to get solid information out of them. (“Frieze New York leads high-stakes month for U.S. art market,” read the front page of the edition of the Art........

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