The Art Newspaper's Melissa Gronlund examined a shift in Dubai's gallery market towards emerging, UAE-based artists, in a piece published 27 February 2024; Tabari's file had previously recorded the date as 28 February, but the live article carries the 27th.
Gronlund cites Tabari Artspace's own move away from Arab Modernist painters towards a younger roster, naming Hashel Al Lamki alongside Maitha Abdalla and the Palestinian, London-based Aya Haidar as recent signings, part of wider evidence in the piece that Dubai's market is increasingly backing artists still building their exhibition histories rather than established names.
For Hashel Al Lamki, inclusion in this survey marks an early, market-facing record of his signing to Tabari Artspace, well before the institutional showings and biennial commissions that followed; it is a useful marker of when that relationship became public rather than a review of any single exhibition, and it is worth reading as market context alongside, rather than instead of, coverage of his actual exhibitions.
