Donald Judd's untitled (1991) will be presented at the booth, a finely crafted anodised aluminium box that faces the viewer at eye level, revealing its colourful interior. One of the most influential artists of the post-war period, Judd radically transformed our notions of the ‘visible’, adopting a rigorous visual vocabulary that emphasises simple proportions. | In Roy Lichtenstein's dynamic Head (Study) (1986), he traces the outline of a face in a combination of blue, brown, and red, juxtaposing both actual and stencilled brushstrokes. | Robert Rauschenberg’s Bowery Parade (Borealis) (1989) is an outstanding example from one of his most innovative series that experimented with tarnishing and solvents to produce different tonal variations. | Georg Baselitz's monumental Arrivato a passo, Signora Kraut (2019) depicts his wife and longtime muse, Elke, in a renewed declaration of love that also reflects the inevitability of ageing and the function of portraiture. | Premiering at Frieze LA, David Salle's Constellation-Like (2019) is from a new series of large, colourful canvases that juxtapose advertising imagery with black-and-white cartoons appropriated from The New Yorker magazine of the 1950s and 1960s.