Since 2017, Nomad has redefined what an art fair can be, trading convention centers for castle courtyards, island villas, and alpine retreats. The first edition of the traveling showcase for collectible design, contemporary art, and jewelry took place inside Karl Lagerfeld’s former clifftop residence, Villa La Vigie, in Monaco. Since then, it’s jetted off to St. Moritz, Venice, Capri, and more. This summer, it flies across the Atlantic for the first time.
The fair lands in the Hamptons at the legendary Watermill Center from June 25–28 with a plethora of gallery presentations, performances, and rare collecting opportunities. Ahead of its U.S. debut, we sat down with co-founder and director Nicolas Bellavance-Lecompte to learn more.
What about the Hamptons, in particular, made it the place to host Nomad’s first U.S. edition?
The Hamptons have a very particular cultural mythology. Beyond the lifestyle image often associated with the region, there is a long history of artistic experimentation, patronage, architecture, landscape, and retreat. It has historically attracted artists, writers, architects, musicians, and collectors seeking space, light, and freedom.
For us, the Watermill Center was especially important. Robert Wilson created something there that transcends the notion of a traditional institution. It is simultaneously an experimental laboratory, a residency, a sculpture garden, and a place of encounter between disciplines and cultures. That spirit aligns very naturally with Nomad.
Can you share a few highlights from the fair this year?
Several exhibitors are creating highly site-specific environments that respond directly to the spaces and gardens. Another important aspect is the cross-disciplinary nature of the program. Alongside collectible design, we are integrating conversations, performances, private visits, culinary moments, and collaborations with artists and cultural institutions connected to the East End.
One special project—featuring photographs by Dominique Nabokov and the Robert Wilson Estate & Trust collection of chairs, curated by French architect Sophie Dries—is certainly an exclusive and unique presentation, showcasing photographs of interiors from Robert Wilson’s Manhattan loft, unpublished portraits, and rare design works.
What is your own personal relationship to the Hamptons? Who are some of your favorite artists associated with the area?
Personally, I have always been drawn to the quieter and more intellectual side of the East End. The legacy of figures such as Robert Wilson, Willem de Kooning, Lee Krasner, Jackson Pollock, and John Chamberlain created an atmosphere where radical experimentation could happen away from the pressure of the city.
I am also very interested in the relationship between landscape and artistic production in the Hamptons. There is a specific light, openness, and rhythm there that has influenced generations of artists and architects. What I appreciate most is that beneath the social visibility of the Hamptons, there remains a deeply rooted creative community and a culture of patronage that continues to evolve.
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