Time turned out to be the big artist and master at Frieze Masters. For no matter how good are the masters presented in this part of the fair, Time is the omnipotent invisible shaper to sign a myriad of the works on display.

Many of the pieces haven't been half as good at the time of their creation. It's the wise hand of Master Time that continued shaping them through days, decades, centuries, before resting them polished to perfection for our joy in this spot in spacetime.

For this angel is only perfect now when Time has shaven half its hair and brushed away half of its right hand. The winds of Time has swept the angle's hair to one side; setting its wood into motion. Master Time has created dynamic, whereas before was mostly human stagnation.

Here one doesn't contemplate merely the work of the artist, but the work of Time performed on the work of the artist. Time has created much of the value in the exposition.

Old Time gives the most prestigious, expensive galleries an unexpected and unlikely aspect of humility. As in all time related matters, at Frieze Masters - which I now rename Frieze Time Masters - unlike at the other Frieze, the advice is to go ...chronologically. Starting from the beginning and in concentric circles. For at the beginning C1, is Sam Fogg, London with the wooden angel in question.

The other masterpiece created by Master Time out of human stagnation, in this case: thriftiness, wariness or pure greed, is to be found at a rather exceptional Gisèle Cröes a.s. Brussels, a gallery specialised in old Chinese art. Here are the two clay pots, of which remains mostly one, stuffed with old Chinese coins. In the two saving (or hiding?) pots Master time has rusted the coins, sticking them to each other, after which has broken the clay to expose its oeuvre.

In addition, Gisèle Cröes a.s. Brussels was the only gallery to think about the general aesthetic of its space and decorate it with some green life. The light, green spot was a much needed resting point for the eye - a touch I did appreciate amidst the deluge of colours and forms of the art fair.

Together with the mentioned above, all at N1 as LAAF's Frieze Time Masters favourites is also ArtAncient London with its collection of unique pieces created by Master Old Time in collaboration with Master Mother Nature. The beauty of this collection surpasses words and language. It consists of dinosaur spine, eggs from vanished Elephant Bird, banded iron formation, fossilised weeds and giant shells.

Other N1 in the Time-rich Form-economic category is a mastodon (I am not sure why I am calling it mastodon) of a gallery : Ariadne, New York, London. With an unbelievable collection of Bronze Age idols, of extreme simplicity and beauty. And a Roman, votive right foot, it what looks like an Egyptian ankh shaped sandal, made of marble, from early AD times, which, if I could, would have been the first thing to acquire at this Frieze Time Masters. I wouldn't be able it explain why exactly.

Last but not least, a word to be said about Time as an Old Revolutionary. Past times, it seems, were more engaged and rebellious. Hence, Frieze Time Masters feels more edgy, open for dialogue and relevant than Frieze London. This is one of the paradoxes of Time, isn't it? Excellent photography to be seen at Jenkins Johnson Gallery, San Francisco, New York and at Alison Jacques Gallery, London.