The Frye Art Museum continues to strategically build its collection through purchases and gifts, both deepening existing areas of strength and diversifying holdings to reflect the Museum’s expansive curatorial program and Seattle’s globalized present. Acquisitions of the last five years demonstrate the Museum’s commitment to growing and contextualizing its distinctive historical collections of late nineteenth- and twentieth-century European and American art while broadening its holdings of contemporary works to embrace previously underrepresented identities, perspectives, and forms of expression. To some extent, acquisitions mirror the Museum’s exhibition history, creating a material record of the institution’s engagement with local, national, and international artists and commemorating the special audience connection formed through temporary presentations. Contemporary artworks chosen for the collection often respond to or complicate the narratives around mediums and genres traditionally associated with the Frye, like painting, landscape, and portraiture.
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| Title | Artist | Medium | Date |
| Trap | Linklater, Duane | Powder-coated trap, mirror, gypsum board, plywood, steel wall studs | 2016 |
| Study for 2x4 with yellow fill | Livingston, Margie | Acrylic with steel wall mount/shelf | 2011 |
| Allegory of the Raging Sun | Lyons, Kat | Oil on canvas | 2021 |
| Single Cabinet | Magor, Liz | Polymerized gypsum, cans of beer | 2001 |
| Mangahufo' I famaguon | McDaniel, Gisela | Oil on panel, found objects, sound | 2021 |
| Snowflake Drawing #5 (Double Lotus Pod) | Mitchell, Jeffry | Graphite, ink, carbon transfer, and watercolor on paper | 2018 |
| Fu Dogs | Mitchell, Jeffry | Earthenware with luster glaze | 2005 |
| Pickle Jar with Elephants, Bow and Mottled Grey Balls | Mitchell, Jeffry | Glazed earthenware | 2008 |
| Dress for Success | Nestler, Rose | Leather, thread, batting, grommets, hooks | 2018 |
| Strange Business | Nestler, Rose | Two-channel digital video (color, silent): 20 min. | 2017-18 |
| Venus Jar 4: My Mothers | O’Leary, Hanako | Clay | 2020 |
| Portrait of Erwin Wurm | Park, Joseph | Oil on panel | 2007 |
| this trembling turf (the shallows) | Peters, Mary Ann | White ink | 2018 |
| The Unknown | Quaicoe, Otis Kwame Kye | Oil on canvas | 2020 |
| Butterfly | Ramirez, Bony | Acrylic, soft oil pastel, color pencil, wallpaper, metal chain, dried coconuts | 2021 |
| Untitled #041220 | Reskala, Georgina | Gelatin silver print | 2017 |
| Stylite Altarpiece | Seifu, Eden | Acrylic on canvas | 2022 |
| Black Face Red Bone with Black Bob | Self, Tschabalala | Colored pencil, acrylic paint, gouache, charcoal, graphite on archival inkjet print | 2021 |
| Black Face with Wide Chest | Self, Tschabalala | Colored pencil, acrylic paint, gouache, charcoal, graphite on archival inkjet print | 2021 |
| Night Forest | Shapiro, Ann Leda | Watercolor and watercolor pencil on archival paper | 2022 |
| Lot 248 (still) | Siegel, Amie | Cibachrome print | 2013 |
| Egungun | Smith, Cauleen | Archival pigment print | 2015 |
| Rising Temperature Casualty (Prunus persica, home garden, Los Angeles) | Tossin, Clarissa | Silicone, black pigment, tree bark | 2022 |
| Becoming Mineral | Tossin, Clarissa | Porcelain | 2021 |
| Frye | Tracy and the Plastics | Performance and video, sound, color | 2006/2014 |
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