fair

Caracas, February 25, 2026 (venezuelanalysis.com) – Venezuelan rice producers have staged demonstrations in recent days, demanding responses from authorities to secure fair prices for their harvests.

Campesino organizations from Barinas, Cojedes, Guárico, and Portuguesa states have held meetings with their respective governors and local representatives of the Agriculture Ministry to denounce pressure from agribusiness conglomerates imposing lower prices for their crops.

Victor Martínez, a rice producer and representative from a rural association in Portuguesa state, told Venezuelanalysis that there is an urgent need to establish appropriate crop prices with harvesting set to begin in the coming days.

“We are calling on the Venezuelan government, from Acting President Delcy Rodríguez to Agriculture Minister Julio León Heredia, to intervene and help set fair prices for rice that take into account our production costs,” he explained. “We cannot have the agroindustrial conglomerates imposing prices unilaterally.”

According to Martínez, rural producers sold rice crops at $0.50-0.55 per kilogram last year, and presently the Iancarina group, the biggest agribusiness firm in Portuguesa state, is offering $0.32-0.38 per kilo. Iancarina holds significant market shares nationwide in corn flour and rice distribution with its “Mary” brand and has ties to the US-based transnational commodities marketer GSI Food.

“These prices would mean the extinction of rice production, jeopardizing thousands of jobs in the countryside,” Martínez continued. “We urge authorities to establish dialogue mechanisms that take our production costs into account.”

The rice growers additionally denounced that corporations have recently imported rice to drive down crop prices and that Venezuelan producers cannot compete with international prices due to “exorbitant production costs.” AgroPatria, a state-owned company that supplied agricultural inputs to campesinos, was turned over to private group AgroLlano in 2020.

Martínez stated that $0.70 per kilo of rice is the price Portuguesa producers have set as a target in negotiations.

“There are too many hurdles to produce right now, from very expensive inputs to a lack of access to credit,” he went on to add. “The same agroindustry corporations offer financing but with draconian conditions and our profit margins vanish.”

According to Martínez, current financing agreements see companies supply inputs and then collect as much as 60 percent of the crop as payment. 

“Agribusiness oligopolies say that they are better off just importing rice, which carries no risk for them. But no country can survive without agriculture.” He concluded with a call for halting imports and extending state support to campesino producers.

In recent days, rural collectives in different states have shared their production costs and come up with different proposals for Venezuelan authorities. They are likewise weighing the possibility of staging a rally in Caracas to demand the intervention of the Agriculture Ministry. Venezuelan government officials have yet to comment on the controversy.

In recent years, with the economy heavily constrained by US sanctions, the Nicolás Maduro government moved to liberalize agricultural policies, transferring former state competencies to the private sector, including provisioning of seed and fertilizer inputs and access to tractors. Fuel subsidies have likewise been phased out, with small-scale producers denouncing it as a major factor driving up production costs.

Campesino collectives have repeatedly drawn attention to a growing agribusiness influence both in the supply of inputs and the commercialization of harvests. Food conglomerates have used their control of silos and retail channels as well as imports during harvest season, to drive up profit margins by imposing lower prices on producers.

Apart from rice, farmers have condemned similar coercive practices with sugar and coffee. Standoffs have traditionally led to mediation from state authorities and a temporary agreement on prices. However, campesinos have repeatedly alerted that agribusiness firms stop honoring established prices or delay payments to take advantage of the Venezuelan currency devaluation.

Edited by Lucas Koerner in Fusagasugá, Colombia.

“If I love you, I have to make you conscious of the things you don’t see.”

James Baldwin’s quote about the artist’s role in society is emblazoned on billboards across Los Angeles this winter. Created by artist Patrick Martinez, the purpose of the signage is two-fold: to promote Frieze Los Angeles and, in the case of neon signs at the art fair’s entrance, to stand as a discrete work of art on its own.

Martinez, an East Los Angeles-based artist, has long translated protest language into storefront-style neon, a strategy he now extends into a broader campaign tied to Frieze, which runs Feb. 26 through March 1 at the Santa Monica Airport and features more than 100 galleries.

This year, however, some of the fair’s most compelling work may be happening outside the tent. Frieze Projects’ “Body & Soul” features eight installations staged across Santa Monica’s Airport Park and beyond. The initiative is intended, organizers say, to broaden the fair’s reach beyond its art world audience — positioning Frieze as a civic platform rather than a purely commercial event.

In addition to Martinez’s creations, “Body & Soul” brings together site-specific works including Amanda Ross-Ho’s durational performance rolling a 16-foot inflatable Earth around the perimeter of a nearby soccer field; Cosmas & Damian Brown’s interactive fountain installation incorporating ceramic heads, incense and water; and Shana Hoehn’s first large-scale public sculpture, fabricated from a fallen tree sourced through Santa Monica’s Urban Forest program. Off campus, Kelly Wall extends the program to a former Westwood Village newsstand, where glass “magazines” will be displayed — 136 in all, priced at $300, with 15 given away.

Martinez’s billboards bearing 2024’s “If I Love You (James Baldwin)” serve as the most highly visible part of the fair’s public outreach. His neon installations respond to ICE raids and immigrant rights, placing protest at the literal threshold of one of Los Angeles’ most visible art events.

L.A. artist Patrick Martinez’s work is featured on billboards around the city, as well as at the entrance to Frieze Los Angeles.

(David Butow / For The Times)

The public art program acts as “a way that we can bring in people who may not be just the ticket goers or the VIP,” said Christine Messineo, Frieze’s director of Americas.

It also serves to amplify the city’s cultural temperature.

“Our job is to represent what’s happening in our community,” Messineo said, adding that immigration and social impact are not anomalies at the fair but part of its foundation.

Some of Martinez’s neon entrance signs — including “Abolish ICE” (2018), “No Body Is Illegal” (2021) and “Then They Came for Me 2” (2025) — predate the current political moment. Instead, they emerge from years of observation and protest.

The artist credits Messineo with approaching him last summer to utilize what he calls his “urgent warning signs” as the face of the fair. Demonstrators also carried signs bearing Martinez’s imagery last June during protests against ongoing federal immigration crackdowns in downtown Los Angeles.

Those events, Martinez says, are not experienced evenly across the city — particularly by the well-heeled audience that attends Frieze and spends $85 to $106 for weekend general admission tickets.

Patrick Martinez, “If I Love You (James Baldwin),” 2024.

(artwork Patrick Martinez / photo Paul Salveson)

Martinez wants his signs to unsettle viewers who are insulated from the city’s unrest.

“The Westside people aren’t even going to see any of that, right? So it’s bringing that kind of mindfulness to that space.”

“It felt prescient then,” Messineo said of engaging Martinez last year, “and I think even more so now.”

Frieze has integrated public art into its Los Angeles fair since its 2019 debut. But the works in “Body & Soul,” produced with the nonprofit Art Production Fund, lean into the particular conditions of public space.

The exhibition brings together Los Angeles artists exploring ideas of memory, community and collective experience — often in quieter ways than Martinez’s overt messaging.

Additional participants include Dan John Anderson, Polly Borland and Kohshin Finley.

Casey Fremont, Art Production Fund’s executive director, said most of the works are newly commissioned.

The program is designed to prioritize innovation over sales. “It isn’t transactional. It’s really just about experimenting and giving the public the opportunity to experience art like they’ve never experienced before.”

Artists scale up — and slow down

“Body & Soul” marks several participants’ first ventures into public work, including Hollywood artist Finley, whose “The Piano Player” will be installed near the corner of Airport Avenue and Donald Douglas Loop. Finley’s piece arranges ceramic vessels inside shadow-box shelving that the artist describes as containers for memory — some “you love to take out and peek into,” others that “should just stay shut forever.”

Kohshin Finley’s “The Piano Player” arranges ceramic vessels inside shadow-box shelving that the artist describes as containers for memory.

(Micaiah Carter)

The title references the film “Casablanca,” and its piano player, Sam, whose music stirs up memories of the central love story.

Finley said the public setting creates an unusually direct encounter as he, like many of his fellow artists, will be standing with his work.

“A lot of people have never seen a living artist,” he said.

Ross-Ho takes visibility even further with her inflatable soccer ball Earth, which weighs 78 pounds. The familiar “blue marble” image will no doubt draw spectators at the Airport Park Soccer Field outside the Frieze tent.

Amanda Ross-Ho is creating a durational performance on a soccer field by Frieze Los Angeles.

(Jennelle Fong for ILY2)

Ross-Ho’s performance, “Untitled Orbit (MANUAL MODE),” functions as an endurance test that is a response to what she calls “the temporal container of the art fair” — and to the pressures of contemporary life.

“Gesture and duration are the ways that I could achieve scale rather than something that was materially constrained like a giant sculpture,” she said.

Designing for gathering

Brown’s installation, “Fountain: Sources of Light,” invites guests to congregate. Positioned between the Airport Park playground and dog park, it combines running water, ceramic vessels, incense and sound.

“I really wanted to make a fountain because I thought that [it’s] something that … people tend to gravitate to,” he said.

The work will incorporate metal plates and bowls created by participants in the youth workshop Art Sundae, taking place Feb. 28 at Airport Park.

Near Brown’s fountain, Echo Park artist Hoehn will present “Deadfall,” a massive fallen fig tree embedded with carved cheerleader legs and skirts — imagery drawn from her Texas upbringing.

Shana Hoehn with one of her carved wooden sculptures.

(Josh Cohen)

“I’ve been working with cheerleading iconography for the past few years,” she said, linking the imagery to what she calls an omnipresent football culture layered with “American patriotism and militaristic qualities.”

Hoehn acknowledged that the fair’s four-day window and limited nearby parking may keep the audience closer to fair-goers than the broader public the program aims to reach.

Beyond the airport fence

A few miles away in Westwood Village, Mar Vista artist Wall will extend the program beyond the airport campus with “Everything Must Go,” installed at a defunct newsstand and on view from 5:48 p.m. (sunset) to 8 p.m. during the fair.

Where magazines and newspapers once were, glass stand-ins bearing skyline imagery will occupy illuminated lightbox shelves. As the glass “magazines” are removed, glowing silhouettes mark their absence.

Kelly Wall, ‘Everything Must Go’.

(Kelly Wall)

Wall’s related project will appear on the Frieze campus with found newspaper boxes transformed into lightbox displays for her glass publication.

“In things coming to an end, there is no real end … there’s transformation,” she said. “How you might see [the piece] may differ depending on different times — or where you’re personally at in your life.”