The following exchange between a curator and me takes place during the press preview for the Armory Show.  

Me: “You look great!”

Curator: “Thank you, I’ve been obsessed with money and lifting weights. How are you? It’s been a while.”  

Me: “I’m okay, busy, you know ... Wait, did you say you’re ‘obsessed with money’?”

Curator: “No, I said I’m obsessed with RUNNING.” 

On the way back to the office, I pass by the New Museum on the Lower East Side, which has just opened a major Arthur Jafa retrospective. A group of drug addicts is flailing in and out of consciousness just a few feet from the museum's sleek new glass expansion. One of them is rolling on the sidewalk in slow motion, wailing breathlessly, with an extinguished cigarette between his fingers. A second is piled on a stoop, waving away a fly that isn't there. A third is frozen in place, hunched over a dirty suitcase. 

Autumn winds are blowing, but the leaves have yet to fall from the trees. At this time of year, few things in the city are as beautiful as the Harlem River. 

The Manhattan skyline glimmers from behind a cemetery while the moon is split in half like a black-and-white cookie. A woman looks like she’s about to cry while reading Flannery O'Connor. A photographer is following a cute couple; they look back at the camera, smiling. A store is selling a jacket embroidered with the motivational message on the back, “Don’t be a little bitch.” 

“Would you like to try it on?” the woman behind the cash register asks. I say, “No, thanks. I’m just looking.” 

— Hakim Bishara, editor-in-chief

Armory Week in New York

News

• A herd of 40 life-sized buffalo puppets migrated through parts of NYC this past weekend for Return of the Buffalo: Tatanka Owe Akupi (Lakota for “buffalo trail home”).
• Disgraced financier and MoMA board member Leon Black plans to convert an iconic Manhattan property into a foundation to display his estimated $5 billion art collection.
• Beijing-based artist Liu Wei returns to New York with brand-new works for the Metropolitan Museum of Art’s Genesis Facade Commission. 
• French authorities apprehend two German men at the Louvre Museum after they affixed two paintings to a wall in the room housing Leonardo da Vinci’s “Mona Lisa.”
• Christie’s launches a new pop culture division, with items for auction including music memorabilia, treasured instruments, and revered film props.
• Documenta 16 artistic director Naomi Beckwith says that some artists declined to participate in the exhibition over “Germany’s position on the Gaza war” and concerns about artistic freedom in the country.
• The Metropolitan Museum of Art will present the first major exhibition on Felix Gonzalez-Torres in New York in over 30 years.
• The El Museo del Barrio in New York expresses regret at providing rental space for a conspiracy-filled conference on the 25th anniversary of 9/11.
• A new report from the Joan Mitchell Foundation highlights deep structural issues affecting legacy work across the arts.
• Art Movements: Photographer Tyler Mitchell wins Crystal Bridges’s $250K prize, the National Gallery of Art names a new head of American Art, Sharif Bey wins the Spector Craft Prize, a Solange sculpture heads to the High Line, and more in Art Movements.

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If Reading Rainbow’s opening sequence — the Y2K-techno-optimistic Chaka Khan version, to be exact — were a real place, it would be the outdoor zine tent at the New York Art Book Fair. I delight in never quite knowing what to expect from the annual gathering organized by Printed Matter, and this year was no different: Over 300 exhibitors from across the world come together at MoMA PS1 in Queens to form a giant, chimeric bookstore of sorts that feels unmistakably alive.

On opening night of the fair’s 20th anniversary edition, which runs through the weekend, staffers handed us plastic string-closure folders, complete with lenticular Tweety Bird prints, for storing the many zines, flyers, and uncategorizable artworks we’d encounter inside. Across from artist Precious Okoyomon’s sculpture in the courtyard, the zine tent felt like a pocket-sized universe where marginalia is the text, and the overlooked, subversive, and playful currents of politics and queer culture flow freely.

Exhibit A: Art workers Jenna Hamed, Aya Krisht, and Rhonda Khalifeh of the Book Arts Solidarity Network handed out flyers for a publishers' meet-up after the fair, a space for connection beyond the museum’s walls. The organization first formed as a way to challenge book institutions’ silence on the genocide in Palestine, and is now launching its third annual edition of the MAKEREADY publication. For the risograph-printed booklet, they collected paintings, photographs, and written reflections from four artists in Gaza and South Lebanon, soon realizing that one thread connected all the works: the color yellow. Hamed explained that the process of assembling the poetic publication was “cathartic,” a way to process an era of bald imperialism and dispossession by centering the artists who are witnessing it.

“It really came out of skill,” Hamed said of the organization’s ability to collaborate across borders. “We know what we’re doing.”

This week, the world outside the Armory Show has been embroiled in turmoil.

Oil and food prices are soaring while mortgage rates topped 7%, which could compel the Federal Reserve to hike interest rates again next month. President Trump and other world leaders traded barbs at the United Nations over the Iran War as a resolution to call for the end of the conflict failed in the Senate. Yesterday, Israeli Prime Minister Benjamin Netanyahu claimed the war in Gaza was the “opposite of a genocide” as protests erupted outside the UN.

Across town at the glass-encased Javits Center, the mood was almost too serene. A swarm of museum curators, art advisors, and members of New York’s top tax brackets browsed the booths of the city’s premier art fair on Thursday. The Armory Show, which runs through Sunday, opened the previous day to an even more exclusive tier of VIPs, who returned to splurge on what they coveted. A smattering of celebrities including Jodie Foster, David Alan Grier, Piper Perabo, Paul Rudd, and Karl-Anthony Towns made the trek too, according to a fair spokesman.

If collectors had any concerns about the wars or inflation, they did not share them.

“They don’t care,” Michael Borghi, a dealer with Hollis Taggart, told Hyperallergic while gripping an abstract Stuart Davis painting he sold for more than $100,000. “They’re really rich individuals, they don’t care.” 

Sales on the first day of the fair appeared fairly steady. Michael Rosenfeld Gallery sold a Joan Mitchell painting for more than $2 million to a private collection, as well as collages by Louise Nevelson and Hannelore Baron, an Armory spokesman said. Over at Edwynn Houk Gallery, a László Moholy-Nagy gelatin silver print sold for $320,000. Gazelli Art House found a home for a Lilly Fenichel canvas with a European museum for $200,000, while Norr Cohan (formerly James Cohan Gallery) sold Yinka Shonibare’s “The Landscape Project (Cotton Plantation)” for more than $180,000, Nara Roesler sold Sheila Hicks’s “The soft side of my nature” (2025) for $260,000, and 303 Gallery placed two Rob Pruitt paintings for $155,000 each and a Doug Aitken lightbox for $150,000. Galerie Maximillian sold Rashid Johnson’s “Untitled (Large Mosaic)” (2025) for about $175,000 in the first hour of the fair, the Armory announced late Thursday evening. (Of course, it’s impossible to know whether these sales actually happened at the fair itself or via a PDF circulated months earlier.)

Arthur Jafa’s survey I Am Tony at the New Museum in New York is full of the artist’s characteristic gallows humor that ironizes even the most morbid images and brings to the surface the solemnity of low culture. 

Occupying two levels of the Lower Manhattan institution, the exhibition is densely packed with work that ventures beyond the video art that has made Jafa one of America’s most important living artists. The largest exhibition of his work to date, its ambitions — which it achieves with mixed results — seem to be to engage in the same themes Jafa has continually mined, this time in even more idiosyncratic and brash ways. These include the history of Black music, religion and secularity, American cinema, political violence, popular culture, and the Internet. 

One floor opens onto the aptly titled “Allegiance” (2026), a wall-to-wall black-and-white image of a crowd of 19th-century Black schoolchildren performing what looks like a “Sieg Heil,” while in the left quadrant, there is a boyish flag-bearer. The stars and stripes confirm that, despite initial appearances, this is a blown-up piece of Americana: a vernacular photograph of a once neutral, outmoded ritual. It has a grainy, spectral quality, and the way its young, somber subjects cluster in the frame produces a melancholic effect. The wall text explains that this gesture was once a customary and patriotic way of honoring the flag, but it is what that same salute came to mean in a 20th-century European context that gives this piece its power, which it derives through shock, juxtaposition, and new connotations that become apparent out of context. 

Another wallpaper, “Rwanda, 1999” (2026), is of a photo taken by Jafa at the Murambi Genocide Memorial in Rwanda, five years after the atrocity it observes took place. The bloodied garments of the mass killing’s victims are strewn across the entire museum wall. It’s impossible to view this without thinking of the genocide in Gaza, and one imagines its evocation was intentional on Jafa’s part, though the wall text does not explicitly mention Palestine.

“Camille — Here are 10 new slides for the ARCHIVES.” In the winter of 1988, Emma Amos scribbled a note to her friend and fellow artist, Camille Billops, along with a gift: an addition to her quickly multiplying library at 491 Broadway in Manhattan. Billops and her husband, James Hatch, bought the loft in 1973, where they lived and stewarded a compendium of Black artistic history throughout their life together. It came to house periodicals, scripts, photographs, audiotaped interviews, and more. The number of artists immortalized surpassed one thousand.

An assortment of ephemera from the Billops-Hatch Collection now accompanies Black Soho, an exciting booth at the Independent 20th Century fair co-produced by RYAN LEE and Salon 94 galleries and on view through Sunday, September 27. The archival materials are displayed alongside artworks by Amos and Billops, as well as by Vivian Browne, David Hammons, Ed Clark, Norman Lewis, Frederick J. Brown, and Jean-Michel Basquiat, all of whom lived in or spent considerable time shaping the eponymous neighborhood, south of Houston Street.

In conceiving the collaborative exhibition, gallerist Jeff Lee told Hyperallergic, they took inspiration from Billops and Hatch’s community-minded endeavors. “We wanted to emulate the energy of that loft. It was an incredible gathering space for so many major artists of her generation, but also younger generations,” said Lee.

Welcome to the 356th installment of A View From the Easel, a series in which artists reflect on their workspace. This week, Lara Saget hauls rocks into her studio and brings glass to life.

Want to take part? Check out our submission guidelines and share a bit about your studio with us through this form! All mediums and workspaces are welcome, including your home studio.

Lara Saget, Brooklyn, New York

How long have you been working in this space?

Working in this studio since 2018. Working in a studio since 2013.

Describe an average day in your studio.

Preparing for the studio is equally important to my studio time. I start my day with meditation and exercise. I usually arrive at the studio by late morning and have multiple projects going on at the same time. I have multiple stations in my studio. I have my painting section, my glass section, my rock room and the miscellaneous area for wild cards including large inflatable trees etc. I listen to music most of the time. I used to listen to a lot of podcasts, but lately I listen to satsang or spiritual instruction mp3s given by my spiritual teacher; I am currently getting my masters of Divinity at the Center For Religion and Advanced Spiritual Studies. I listen to satsangs often while I am painting, not when I am lifting heavy machinery or rocks. For the physically hard jobs, I listen to pump up music.

How does the space affect your work?

My space is integral to my work. I love working large scale and having light and space make my work possible. I remember not having a studio. I was in my 20s and I didn’t yet understand the dangers of materials. I’m ashamed to say that I literally mixed parts A and B of resin in my bedroom, but that was almost 20 years ago. I can’t put in words how grateful I am to be a working artist in New York with a studio and proper PPE. I also have a wonderful freight elevator that can carry thousands of pounds, which is important because some of my rocks, stones, and glass need that weight capacity. The space makes my work possible.

How do you interact with the environment outside your studio?

My studio is filled with artists. It is really refreshing to interact with them on a daily basis. I have been in New York for many years, almost 20. I feel incredibly grateful for the art community I have fostered. I love working in glass because it is collaborative. Glass requires multiple artists to work simultaneously. Through working large scale in glass, I have had the opportunity to work with incredibly skilled glass artists. Additionally, I love working in many mediums including stone, glass, metal to name a few. Each time I begin working with something new, I get to learn with an artist who is dedicated to that material. I have met the most incredible artists through new material explorations. These artists have become longtime friends as the years go by.

What do you love about your studio?

I love my studio! I moved to it in 2018 right out of grad school at NYU. I moved in with five classmates. We built out the space and constructed walls, storage, a gallery, a kitchen, we built everything. Slowly, over the last eight years, people left and I took over their spaces, now I have about two-thirds of the space. I have built out my own room for my rocks, stones, and ancient relics that I later include in my work. To have a rock room is my childhood dream come true! I have loved rocks since I was a small kid and to have a space to collect everything is quite literally a dream made reality. In short, I love my rock room most. I also have a mini trampoline that I’ve always had in my studio, it’s a reminder to stay playful.

What do you wish were different?

I wish it were bigger, the classic New York story. But I’m grateful for the size it is now.

What is your favorite local museum?

The Met. I love ancient Egyptian and Hellenistic sculpture. I love wandering the halls right when they open and close.

What is your favorite art material to work with?

My favorite art material is glass. It is an amorphous solid or liquid depending how you think about it. I love that state change is inherent in its composition. It’s alive in a sense.

The Spring Break Art Show returns to New York to do what it does best: host a labyrinthine art fair in a venue that was very evidently another business's heavily outfitted headquarters before being vacated. This time, visitors land up in the north side of Hell's Kitchen, weaving through the old CBS News offices where 60 Minutes, CBS Sports, and Inside Edition were hosted until earlier this year.

While fixtures of the news outlet's branding and functions are still found throughout the 9th floor of 555 West 57th Street, Spring Break's participants continue to touch on politics and current events through their own lens and invite others to do the same. So much so that Everything Is Political, the independent media project launched by the climate justice nonprofit Slow Factory, has actually taken over one of the old CBS recording studios to create The People's Newsroom, where visitors are encouraged to go on the record and broadcast their own news, political takes, and other pressing matters.

Though Slow Factory asks all of us to lay our thoughts out in the open, Spring Break's theme this year is “Hide 'n Seek” — an apt designation for the circuitous floor plan rife with dead-ends, hidden nooks, and other unusual places for artwork to nestle. “This is actually the perfect venue for the theme,” Andrew Gori, who co-founded Spring Break with Ambre Kelly, told Hyperallergic during a chance encounter on Thursday, September 24. “We had the chance to have the fair in TriBeCa again, but this felt better suited.”

Equally playful and provocative, “Hide 'n Seek” brought in conversations about labor and equity, intimacy and privacy, intentionally obfuscated histories and their domino-effect impact, and, as one would imagine, the politics of the body.

The Delaware Art Museum is proud to present Lisa Bradley: Beyond Luminosity, opening September 19, 2026. Beyond Luminosity offers a new opportunity to engage with Bradley’s most recent body of work, presented publicly for the first time. The exhibition is organized by DelArt Head Curator and Curator of Contemporary Art Margaret Winslow and Art Bridges Fellow Hilda Delgado.

“We are rewarded with each encounter, suspended in a luminous field of color,” says Winslow, reflecting on Bradley’s work.

Bradley translates the mysterious into the physical with intimate marks and sweeping gestures. As an artist working within the field of abstraction, Bradley has contributed to its evolving history. Art historian Carter Ratcliff describes her work as depicting “a pause between the pulses of some vast and luminous energy.” 

The artist’s career is one that has endured beyond trends and common tropes, representing a breakthrough in the field of abstract painting. Bradley’s work is informed by a strong interest in spiritual experience. In her luminous paintings, she achieves an expression of simultaneous movement and stillness, creating a feeling of suspended time.

DelArt invites audiences to experience new work by contemporary artists through exhibitions that offer fresh perspectives and deepen connections to the Museum’s collection. Lisa Bradley: Beyond Luminosity builds on this commitment, presenting 10 large-scale paintings and eight works on paper in DelArt’s solo exhibition of Bradley’s work. The presentation also extends the Museum’s longstanding connection to the artist. Bradley’s Akasa II entered DelArt’s collection in 2009 and, over the past 15 years, has been a regular presence in the galleries, captivating visitors of all ages and becoming a beloved piece in the contemporary collection.

A complementary 120-page monograph features insights from prominent curators, critics, and art historians.

Learn more at delart.org.

More than 100 works and archival documents trace Doyle Lane’s evolution from functional pottery to monumental murals that transformed ceramics into abstract, light-filled constructions. 

Featuring intimate vessels, iconic “weed pots,” “clay paintings,” jewelry, beads, and large-scale architectural commissions, “Doyle Lane: Master of Clay” offers the most expansive presentation of Lane’s practice to date. The exhibition situates him within midcentury California modernism and the Southern California studio ceramics movement while examining the barriers he faced as a Black artist. 

On view through March 1, 2027, at The Huntington.

Explore the exhibition and plan your visit at huntington.org.

If you survived day one of the New York fair flurry, you have my respect — Editor-in-Chief Hakim Bishara has read his share of booth press releases over the past 24 hours, too, and offers a one-sentence dispatch on the best and worst of the Armory Show to spare your eyes. (See what I did there?)

Meanwhile, Senior Editor Valentina Di Liscia beholds the “monstrous mise en abyme” that is Independent 20th Century at the Breuer Building, where overlooked and marginalized artists get their due.

More must-reads below, including reviews from Venice of the Biennale’s Polish Pavilion and an exhibition on the handmade dolls repatriated to an Indigenous Australian community after a professor stole them over 70 years ago.

—Lakshmi Rivera Amin, associate editor

SPONSORED

Istria Napoli is a new collection of handmade jewelry by Laura Raicovich.

Hand-forged and personally made by Laura in New York City, each piece incorporates items from her collection of gemstones, antique beads, intaglios, and bespoke-fabricated elements.

Learn more at istrianapoli.com

News

• Christie’s launches a new pop culture division, with items for auction including music memorabilia, treasured instruments, and revered film props.
• The El Museo del Barrio in New York expresses regret at providing rental space for a conspiracy-filled conference on the 25th anniversary of 9/11.
• Art Movements: Photographer Tyler Mitchell wins Crystal Bridges’s $250K prize, the National Gallery of Art names a new head of American Art, Sharif Bey wins the Spector Craft Prize, a Solange sculpture heads to the High Line, and more in Art Movements.

SPONSORED

Shimmer: Dreaming the Posthuman

This thought-provoking exhibition at the Frist Art Museum explores human interconnectedness with the more-than-human world.

Learn more

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• NYT Staff Photographer Damon Winter writes about seeing unexpected beauty in the decaying landscape of the NYC subway system.
• A TikTok debate about Gen-Z job-seekers bringing iced coffee to interviews has spiraled into a conversation about the unspoken, arbitrary rules behind corporate culture, author Maya Watson explains in the Cut.

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From the Archive

I wish I could tell you that the Armory Show this year was radically different or better than recent editions at the Javits Center in Manhattan, but it was the same melange of dreadful hotel-lobby art next to countless inoffensive works that “explore identity and memory” with only a slim minority of memorable standouts, many of which were in the Focus section, dedicated to art from the Caribbean and curated by the phenomenal María Elena Ortiz of the Modern Art Museum of Fort Worth, and although people were wheeling and dealing as usual, the fair seemed awfully quiet and downcast, making the financial sector trade show on the floor below — same thing minus the art — seem like a riot in comparison.

Independent 20th Century is an art fair within an auction house inside a building that used to be a museum, a monstrous mise en abyme that perfectly encapsulates the art world today.

The fifth edition of Independent’s dedicated modern art fair opened today, September 24, and runs through September 27 at the Breuer Building in Manhattan, a Brutalist landmark that was purchased by Sotheby’s in 2023. The cool, imposing structure served as the long-time home of the Whitney Museum of American Art from 1966 to 2014, and later briefly housed the Metropolitan Museum of Art’s contemporary galleries, followed by the Frick Collection, which used the space temporarily during renovations. If I were the Breuer Building, I’d need a vacation.

You can almost hear the collector class salivating at the bounty of “undiscovered” treasures packed into the booths at Independent 20th Century. Admittedly, there is a mind-boggling amount of spectacular art on display at the Breuer, particularly by late women artists who were inadequately recognized in their lifetime. Take, as just one example, the paintings of Austrian-Italian Surrealist Manina at Richard Saltoun Gallery. A Dadaist muse, she began painting in the 1940s after meeting Frida Kahlo in Mexico, filling canvases with mythic visions of femininity that combine minutely applied brushstrokes against explosive color passages. She exhibited with Magritte at the Hugo Gallery in New York and even showed at the Venice Biennale in the ’60s, but Manina is far from a household name, in part because the death of her only daughter left her without an estate, the gallery's director Monica King explained. Her paintings range between $40,000 and $160,000. (Magritte's auction record is $121.2 million.)

Stories like Manina's abound at a fair whose premise is to “reframe the canon” of the past century's avant-garde. Garth Greenan Gallery brought painted sculptures by Pop darling Rosalyn Drexler, rendered with charming abandon in plaster, wood, and found objects. Shown at the Guggenheim in 1965, they're much less known than her paintings, which she started making after her gallery, Reuben, closed. She noticed that all the other artists — male — found representation elsewhere, so she shifted mediums. These loosely formed, slightly lumpy sculptures seem to thumb their nose at commercial taste.

VENICE — I have spent much of my career as a crip curator and art historian thinking about how access is often treated as an afterthought — the ramp added late, the caption burned in at the last minute, the interpreter budgeted only if funds remain. What startled me most about Liquid Tongues, Bogna Burska and Daniel Kotowski’s installation for the Polish Pavilion at the Venice Biennale, is that access is not appended to the work; it’s the entire epistemology. As a disabled visitor, I did not have to translate myself to enter it; the pavilion had already done the work, in every direction at once.

Curated by Ewa Chomicka and Jolanta Woszczenko and produced by Zachęta National Gallery of Art, the installation submerges the visitor immediately. Video projections shot in a Warsaw swimming pool fill the space with aqueous blue, while low-frequency acoustic waves modeled on cetacean marine mammal vocalizations and echolocation press against the body. Sound here is not overheard; it is worn. For those of us whose bodies process the sensory world differently, this is a quietly radical proposition: meaning arrives through skin, bone, and sternum as legitimately as through the ear.

At the center is “Chór w Ruchu (Choir in Motion)” (2026), an ensemble of Deaf and hearing performers simultaneously narrating the story of biologist Roger Payne, whose 1970 recordings Songs of the Humpback Whale helped catalyze the whaling ban, in phonic English and International Sign Language. Alicja Czyczel’s choreography borrows the logic of fish shoals: Bodies move as a single distributed organism, with no soloist or conductor. Aleksandra Gryka's score and Magda Mosiewicz’s cinematography complete a structure in which no channel — voice, sign, image, vibration — is primary. Everything is translation; nothing is the original.

The conceptual anchor is “Deaf Gain” (2010), a term coined by Deaf Studies scholar H-Dirksen L. Bauman that reframes deafness as not a deficit but cultural and perceptual expansion. Kotowski, a Deaf artist whose practice has long interrogated language, biopower, and the oppression of phonetic training, is the crucial figure here. His authorship keeps the work from tipping into metaphor tourism — the temporary borrowing of another group’s lived experience as an aesthetic frame — and it places Liquid Tongues in conversation with the two artists who have most powerfully brought Deaf epistemology into contemporary art: Christine Sun Kim and Joseph Grigely.

The El Museo del Barrio in New York has expressed regret at providing rental space for a conspiracy-filled conference on the 25th anniversary of 9/11, as first reported by the New York Times.

The East Harlem museum, which houses a trove of artworks by artists of Latin American descent, rented out part of its building to the International Center for 9/11 Justice for “Turning the Tide: 9/11 25 Years Later." The conference ran from September 10 through September 13, with first responders, elected officials, and victims' family members, among others, participating. Speakers included Bill Manning, the former chief editor-in-chief of Fire Engineering magazine, who theorized that the buildings fell from controlled demolition, and retired Lieutenant Colonel Karen Kwiatkowski, who said the federal government covered up events including 9/11 and podcaster Charlie Kirk's assassination. Roger Waters of the band Pink Floyd also spoke, expressing his desire to probe “what actually happened” on 9/11.  

"El Museo del Barrio recognizes its responsibility as a steward of the public trust and deeply regrets this event,” the museum said in a statement shared with Hyperallergic. “At the time of contracting, the Museum was not aware of the full program, content and speaker list for this event.”  

Music memorabilia, treasured instruments, and revered film props are among the objects that will be available for auction in Christie's new pop culture division.

The blue-chip auction house announced the division on September 23 and appointed Josh Benesh, the former Chief Strategy Officer at Heritage Auctions, as the team’s inaugural director, as first reported by Artnews. While details are still in flux, a Christie's spokesperson told Hyperallergic that the department will host multiple annual auctions spanning categories including on-screen entertainment, music, sports, science, history, and fashion.

The creation of the division comes months after Christie's lucrative sale of the collection of billionaire Jim Irsay, who died last May. The estate sale included a pair of tickets from Ford’s Theatre on the night of Abraham Lincoln’s assassination, the first drum set Ringo Starr used with the Beatles, a Golden Ticket prop from Willy Wonka and the Chocolate Factory (1971), and one of boxer Muhammad Ali's fight robes.

Raking in over $105 million across five iterations, the Jim Irsay sale became the highest-earning memorabilia auction in Christie's history, according to a press release, and underscored a strong market demand for pop culture memorabilia.