Of course, there’s so much else going on to coincide with Frieze week. One of the most popular satellite fairs is 1-54, the fair – led by Founding Director Touria El Glaoui – dedicated solely to contemporary art from the African continent and its broad diaspora. Bringing together galleries from around the world in a range of mediums at Somerset House, 1-54 continues to lead the way forward in an international market that is still weighted towards the west.

This year’s fair will see 37 international galleries from 17 countries showcase work by more than 110 artists – a significant representation of the very best contemporary African artists working today. This year’s courtyard installation has been created by none other than Slawn, the young London-based Nigerian artist also known as Olaolu Akeredolu-Ale. His project, Transition, involves two iconic London double-decker buses – over 10 metres long and 4 metres high.

Also worth visiting is a partnership between Somerset House and 1-54, a retrospective exhibition devoted to the late Leila Alaoui, the French-Moroccan artist, photographer and activist who died in 2016 while working on a women’s rights campaign with Amnesty International. Alaoui was caught in gunfire during a terrorist attack in Ouagadougou, Burkina Faso, and three days later died of her wounds. Honouring Alaoui’s photographic practice, the exhibition includes three of Alaoui’s defining series of works – Les Marocains, No Pasara and Natreen, as well as Alaoui’s final unfinished video work L’Île du Diable (Devil’s Island), exploring the lives of a 1960s generation of dispossessed migrant workers in France.

Rob and Nick Carter’s Chroma-Viscosity II, defies the boundaries of materiality, time, and technology in five framed works – a continuation of the duo’s Painting Photographs series – where stridently coloured swirls of wet paint are captured at a single moment with close-up photography, then enlarged 60 times to emphasise the medium’s sensuous, momentary quality.

Walking the line between painting and photography, two mediums that are intertwined in the contemporary era, Rob and Nick Carter use the photographic technology to draw out the materiality of paint, creating compelling abstraction compositions that query what a painting and how traditional techniques might be transformed for the digital age – a recurrent interest of Rob and Nick Carter’s enquiring and experimental practice.

Also on show is the duo’s new AI-generated film, (also based on the Painting Photographs) reimagining and transforming their captured fluidity and movement of paint into a dynamic, evolving digital format.