One week a year, international art galleries descend on Piers 92 and 94 in Manhattan and fill the warehouse space chalk to the brim with work from blue chip contemporary and modern artists. With a close friend working booth 1501 representing Rokeby Gallery from London, we were able to meander the sprawling piers armed with a VIP pass (and bottomless macchiatos) and take in the wide array of art The Armory had to offer. With a focus on Latin American art in the contemporary pier, the space’s vibe was “so cool it hurt” and was full of loudly colored yet visually refined pieces – sculpture, paintings, and installations alike. The people watching also did not fail to disappoint – so many fabulous people strolled through the aisles at a turtle’s pace taking in all the grandeur of the surroundings. Though, as a friend pointed out, we were a bit out of place without a pair of “ironically indy” glasses to frame our faces as we contemplated the process and purpose of the art at which we stared. Of our favorites was a piece by the well-known sculptor Tony Cragg – a mustard-hued bronze sculpture that was polished to near perfection. The ripples and patterns in its exterior left us mesmerized. The sculpture at this year’s show took the cake for the best in show and the emphasis on a sarcastic and smarmy play-on-words was everywhere. As our driver let us in on a little secret as we pulled away from the piers and back to the West Village; almost as a monologue she said, “After the tents of Fashion Week are dismantled, New Yorkers are fully ready for that crowd to wander home. But with The Armory, our city comes alive with culture and freshness – we’re truly sad to watch everyone part.” We couldn’t agree more – our time on the piers left us refreshed, stimulated, and broadened to the art world at large.