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 |
| Untitled | Yamahira, Ko Kirk | Acrylic and graphite on partially unwoven canvas with wood | 2019 |
| Pink on Black Group | Bradford, Katherine | Acrylic on canvas | 2022 |
| Stylite Altarpiece | Seifu, Eden | Acrylic on canvas | 2022 |
| Study for 2x4 with yellow fill | Livingston, Margie | Acrylic with steel wall shelf | 2011 |
| Butterfly | Ramirez, Bony | Acrylic, soft oil pastel, color pencil, wallpaper, metal chain, dried coconuts | 2021 |
| Madrone + Mullan | Wechsler, Sadie | Archival inkjet print in madrone artist's frame | 2021 |
| Egungun | Smith, Cauleen | Archival pigment print | 2015 |
| Breathless #6 | Jones, Jennie C. | Audio tape from the 1992 Kenny-G recording “Breathless”, under plexiglass | 2008 |
| Ground of Ground | Harvey IV, Harry Gould | Black walnut from the Delano Sawmill, white oak from Prudence Island, MDF, colored pencil, charcoal, gouache, and pigments of goldenrod, Aronia Viking chokecherry, and rose petals | 2022 |
| Feast | Webb, Dan | Carved fir | 2006 |
| Sister Totem | Dingus, Marita | Ceramic and mixed media | 2023 |
| Formation | Akashi, Kelly | Chromogenic crystallograph in aluminum artist's frame | 2021 |
| Lot 248 (still) | Siegel, Amie | Cibachrome print | 2013 |
| Venus Jar 4: My Mothers | O’Leary, Hanako | Clay | 2020 |
| Gingko | Bennett, Gretchen Frances | Color pencil on paper | 2023 |
| 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 |
| Baby | Ball, Natalie | Cotton cloth, twine, clay, leather, metal jingles, deer legs, and shoes | 2018 |
| From Sea to Dawn | Haerizadeh, Ramin, Rokni Haerizadeh, Hesam Rahmanian | Digital video (color, silent); 6:21 min. | 2016 |
| Silent Clusterfuck (Pyrite –fake gold) | Jones, Jennie C. | Earbuds and acrylic | 2008 |
| Fu Dogs | Mitchell, Jeffry | Earthenware with luster glaze | 2005 |
| Untitled #041220 | Reskala, Georgina | Gelatin silver print | 2017 |
| If Marco Polo Brought the Pasta Meme to Europe from China, He didn't Need to be a Pasta Chef but all he Had to do was to Disperse the Meme in the Environment and Other Humans Infected by it, Would Express it in their Behaviour | Haerizadeh, Rokni | Gesso, watercolor and ink on printed paper | 2017-18 |
| Trefoil Looking Glass | ESTAR(SER), with special acknowledgment to the Committee on Vitreous Phenomena (Justin Ginsberg and Anna Riley) | Glass, with custom made iron and wood stand | n.d. |
| Solid Citizen | Jackson Hutchins, Jessica | Glazed ceramic | 2008 |
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