To state the obvious, one of the good things about having an art fair stand is the enforced leisure. You really can’t do very much except talk to people. And for us, so far, that has been a real pleasure.

Florin Ungureanu, Lost Memories, 2011

Yesterday we spent a lot of time in conversation with the artists who have work on the Axis stand. I was intrigued to hear about Florin Ungureanu’s education in Ceauşescu’s Romania, David Webb’s passion for colour, Canadian Trevor Kiernander’s experience of living in London, Will Woon’s interest in Gothic architecture and the propensity of caretakers at the Slade to dispatch anything vaguely resembling scrap material to the rubbish bins, as Sonke Faltien discovered to his cost while doing a BA there.

We’re at the London Art Fair primarily to promote our services not to sell work. But we were nonetheless delighted when Hanae Utamura sold her film piece Wiping the Sahara Desert, 2010 at yesterday’s preview.

Hanae Utamura, Wiping the Sahara Desert, 2010

It’s an edition of three: so one down, two to go! What’s more, Hanae’s piece has its own double-page spread in the London Art Fair catalogue.

Among visitors to the Axis stand were our colleagues from Art Review, who have produced an excellent guide to buying multiples. We also had a visit from the delightful Debra Wilson and Chiara Williams of WW Gallery and heard about their plans for a new gallery. If you haven’t already watched our film interview with them, why not enjoy it now?

At the same time, of course, we’ve been visiting our neighbours in the Art Projects section of the London Art Fair. One nearby stand displays work from this year’s Catlin Guide, an essential resource for anyone interested in recent art school graduates. We’ve also been enjoying the Serpentine Gallery’s limited editions and chatting to colleagues at Rise Art.