The main fair is dominated by often humdrum modern British art, both abstract and figurative, interspersed with occasional gems — a sinuously curved canvas by Richard Smith at Piano Nobile gallery looked great among the middling abstraction elsewhere.

Younger galleries have given this main section an injection of energy — Jack Bell’s carefully selected booth of African contemporary art is a particular highlight.

But, as with the past couple of years, Art Projects, featuring 30 emerging galleries, is the fair’s best section. I loved Limoncello gallery’s typically cheeky booth based on reality TV show Take Me Out, where a hooded head in bronze by Sean Edwards is surrounded by a semi-circle of works by the gallery’s women artists.

Cole gallery has a group of eerily beautiful composite photographs of suburban New York state homes set in wastelands by Oliver Michaels, while Edel Assanti’s stand is dominated by Mauro Bonacina’s abstract made by hammering nails into balloons full of intoxicatingly coloured paint.

Photo 50, the photography section, is also strong — look out for Ian Beesley’s moving images of the casualties of Britain’s eroded industries, and Homer Sykes’s endearing shots of folk rituals.

Until Sunday

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