Decades-Lost Art Fair by Art Legends Unsealed from 44 Crates

Fairground attractions, crafted by renowned global artists, offered children entertainment for one summer season before vanishing for many decades. These installations were integral to Luna Luna, the world’s inaugural art funfair, conceptualized by the then little-known Austrian creative André Heller in the 1970s. It notably featured a carousel by Keith Haring, a Ferris wheel by Jean-Michel Basquiat, and a pavilion by David Hockney. Attendees could explore Roy Lichtenstein’s hall of mirrors and admire Salvador Dali’s fun dome, while also tasting biscuits adorned by artist Gertie Frölich as performers dressed as nuns and flamingos mingled among them. Despite its success for several months, plans for an extensive European tour did not materialize. This led to a prolonged legal dispute, resulting in the attractions being dismantled, stored, and subsequently overlooked. Until recently. American entrepreneur Michael Goldberg discovered Luna Luna through an art blog. He had no prior knowledge of it, despite contributions from some of the art world’s most prominent figures. To his astonishment, his acquaintances in the industry were equally unaware. “Everyone asked me what I was talking about,” he said. “Something seemed a little odd.” Captivated by the fair, Goldberg contacted Heller, introducing himself and proposing a contemporary revival of the Austrian’s original vision. The two gradually established a connection, and Heller disclosed that the attractions had been stored in 44 shipping containers in Austin, Texas, since their disassembly. Luna Luna, which debuted in 1987, enjoyed a vibrant three-month run, extended twice due to high public interest. However, in his efforts to finance a European tour, Heller incurred debt and sold the fair to an American foundation. Although the foundation attempted to withdraw from the agreement—a case of “buyers remorse,” as described by Goldberg—the transaction ultimately proceeded. Nevertheless, throughout the ensuing years-long legal conflict and under new ownership, the rides remained in storage. Decades after Luna Luna was packed away, Goldberg assembled a team of investors to acquire what remained of the exhibition from the foundation, purchasing it sight unseen. His primary investor was global rap star Drake, through his investment and entertainment company, DreamCrew. “The idea of restoring something so rich in cultural history outweighed the risks and for us, it wasn’t about guarantees,” Anthony Gonzales, CEO of DreamCrew, told the BBC. The New York Times estimated the purchase price at $100m (approximately £80m), while The Guardian reported the sum as $1m. Goldberg did not reveal the final cost to the BBC. Upon opening the first container, Goldberg experienced immediate apprehension. Luna Luna’s original merchandise had been shredded. “Did I just lead a group to spend millions of dollars on a pile of dust artwork that essentially rotted away?” he wondered. He endured a sleepless night. However, the following day, as more paper was removed from a second container, light illuminated a toffee-apple-red handlebar belonging to Haring’s carousel, followed by the white floorboards of Basquiat’s Ferris wheel, which “could have been painted days ago.” It was a moment of “instant relief,” Goldberg stated. Unearthing the artwork proved not to be the most challenging aspect of Luna Luna’s restoration. Brad Gooch, author of the recent official Haring biography, *Radiant: The Life and Line of Keith Haring*, observed Luna Luna’s reconstruction, describing the undertaking as “mind boggling.” “It was like a giant Lego with no instruction kit,” he said. A team comprising artists, carnival technicians, curators, and architects collaborated to meticulously rebuild Luna Luna over two years, culminating in its grand reopening in LA this March. Currently, Luna Luna: Forgotten Fantasy is being showcased at The Shed, an art and theatre complex in Midtown Manhattan. The exhibition features the fair itself, accompanied by displays that illuminate its unique curation process. Alex Poots, creative co-founder of The Shed, likened the project’s journey to a “Raiders of the Lost Ark story,” referencing the film, and commended Heller’s skill in commissioning such high-calibre artists while devising a format that appealed to both “art lovers and yet to be art lovers.” “That is a holy grail kind of pursuit,” he added. The majority of the original attractions are presently situated within a towering 17,000-square foot area. Within this space, visitors have the opportunity to “marry” each other in Heller’s Wedding Chapel, which originally served as protest art against anti-LGBTQ marriage laws of the 1980s. Hockney’s Enchanted Tree Pavilion retains a subtly sweet aroma, reminiscent of popcorn once trodden into its floor by enthusiastic children. Goldberg’s aspiration to incorporate “today’s greatest artists” is realized through a soundtrack by contemporary musicians André 3000, Jamie xx, and Jockstrap, which resonates throughout the space. Drake is not involved in daily operations, but “he is passionate about Luna Luna and has provided his full support since the beginning,” Gonzales affirmed. A significant distinction exists between the Luna Luna of 1987 and its current iteration: children are not permitted on the rides. Basquiat’s Ferris Wheel and Kenny Scharf’s swing ride are for display only. Similarly (and fortunately), Manfred Deix’s Palace of the Winds, where performers originally “farted into microphones,” is also display-only. Haring’s biographer, Gooch, believes the artist would not have approved of children merely observing his carousel. “I can’t imagine he would allow it,” he said. “He was pretty insistent about interactivity of children with art, and this was art that was specifically made for them.” Poots, who played a significant role in coordinating the interdisciplinary aspects of the exhibition, commented on the decision: “They’re priceless works of art now.” However, he advocates for the potential of audiences to become “part of this moving exhibition” through the “carnival-esque environment with performance artists with light, with sound.” Poots has maintained a career-long mission “not to create these silos for elites.” He further stated that ticket prices, which some have criticized as excessive, are “pretty reasonable” given that the show cost “millions and millions of dollars to install.” Among the families visiting The Shed during Thanksgiving weekend were Raemy Suwatson and her 11-year-old daughter, who discovered on the morning of their visit that she would not be able to ride the attractions. Haring’s carousel was her favorite. “I wanted to ride it” she said, then added “but it was also cool to watch.” The exhibition is scheduled to run from 20 November to 23 February and will embark on a tour after its engagement at The Shed. Copyright 2024 BBC. All rights reserved. The BBC is not responsible for the content of external sites. Read about our approach to external linking.