One of the highlights of the ADAA Art Show, the annual New York fair put on by the Art Dealers Association of America, is its solo and two-artist booths. The booths at this fair, which is held in the Park Avenue Armory on Manhattan’s Upper East Side, are not large, so these are less like solo shows in galleries than they are tightly curated, jewel-box installations, often focusing on a specific aspect of an artist’s work—and sometimes even on a single piece. If a monographic museum show is a novel and a gallery exhibition is a short story, an Art Show booth is a vignette.

Last year’s edition of the fair was remarkable for how many such booths were devoted to work by women—a full 55 percent. ARTnews looked at solo and two-artists booths by women at the fair over the past decade, and found there has been a steady rise. This year’s edition, which opens tomorrow night with a gala for Henry Street Settlement, shows a slight dip in the percentage of booths given over to women from 2019, but boasts the highest number of solo presentations by female artists, a full 19—and more solo and two-artist booths overall, a full 49.

As far as painting is concerned, Andrew Kreps Gallery and Bortolami (both from New York) are collaborating on a booth of paintings by Carla Accardi, DC Moore (New York) has landscapes by Jane Wilson, Sicardi Ayers Bacino (Houston, Texas) has geometric abstractions by Mercedes Prado, and Locks Gallery (Philadelphia) has Op abstractions by Edna Andrade. Susan Inglett Gallery (New York) has vintage pornographic images transformed by Beverly Semmes. Pavel Zoubok Fine Art (New York) has sculptures by Vanessa German.

Just days after it was announced that three top galleries would spilt the job of selling off work from the collection of the late Donald B. Marron, one collector has already reportedly snapped up two prized works from his storied holdings of modern and contemporary art. Stephen A. Wynn, the billionaire former casino magnate who ranks on ARTnews‘s Top 200 Collectors list, has purchased two paintings by Picasso for roughly $105 million from Marron’s estate, according to the Wall Street Journal.

The deal, which Wynn had shared with his friends, reportedly includes Picasso’s 1937 Woman with Beret and Collar, a portrait of the artist’s lover, and Seated Woman (Jacqueline), a 1962 portrait of his second wife. Marron’s massive collection, which he amassed over some 50 years, is said to be worth at least $450 million. Representatives for Wynn did not confirm or deny the acquisition to the Wall Street Journal, but said that “Mr. Wynn frequently buys and sells fine art.”

Sotheby’s, Christie’s, and Phillip’s have been in fierce competition to sell off Marron’s renowned collection since he died at age 85 in December.  But in a shocking announcement last week, Marron’s widow, Catie, bypassed the houses, cosigning some 300 works from the collection to Pace, Acquavella, and Gagosian galleries, which also includes work by Mark Rothko, Cy Twombly, Willem de Kooning, Gerhard Richter, Mark Bradford, Mark Grotjahn, and Laura Owens.

The galleries, who would not comment on the sale of the Picasso works, have not disclosed how much money they offered Catie, but it is likely well over the $300 million guarantee that the three auction houses are said to have offered. Speaking to the Wall Street Journal last week, Bill Acquavella said, “It was a lot of money, so we have to deliver—we can’t send any works back to her.”

Amid increasingly turbulent conditions in Hong Kong around the spread of coronavirus, Sotheby’s has relocated its major April Hong Kong modern and contemporary sales to New York. The announcement coincides with an increase in travel restrictions as the impact of the epidemic continues to grow in severity, reaching the Middle East and Europe. This follows initial concerns around the city’s stability as a trade site after the outbreak was declared a global health emergency by the World Health Organization in January.

The firm’s modern art evening sale and its contemporary evening and day sales will be held the week of April 16 at the house’s headquarters on Manhattan’s Upper East Side. The venue change in the leading category sales requires a heavy lift for specialists, not only in terms of managing consignors’ expectations, but also in pivoting attention towards the U.S. base of potential buyers.

Sotheby’s has seen success in Asia in the last four years and the news comes with an imperative goal of matching last year’s robust regional sale results. In a statement, Kevin Ching, CEO of Sotheby’s Asia, said the “strategic decision” came “after careful consideration and reflection on nearly 50 years of working with our clients in Asia.” The remaining series of Hong Kong sales, which include offerings in the categories of Chinese works of art, classical and modern Chinese paintings, modern art, Southeast Asian art, jewels, and luxury will be postponed until the first week of July. Sotheby’s top competitor, Christie’s, has scheduled the Hong Kong 20th century and contemporary art evening and day sales for the end of May.

The relocated Hong Kong sales, which come on the heels of the New York contemporary mid-season auctions slated for early March—Sotheby’s contemporary curated, Christie’s Postwar to present, and Phillips’ New Now sales are focused on the core market and offer a wide range of works by emerging artists— are not the first coronavirus-related disruptions to the international art market. Earlier this month, the top auction houses confirmed that the regular Spring Asia Week sales in New York would be postponed until June. And Art Basel has canceled its annual Hong Kong edition. Each announcement has been a serious signal to the global art industry of the current trade limitations in the region.