Newly anointed MacArthur "Genius" fellow (and City Paper's Best Artist this year) Joyce J. Scott made her mark at Goya, where she has long been represented. From her "Day After Rape" series, three glinting faces and the smaller figures they wear as foreboding crowns—one a reaper-like skeleton perched on a ruby head—hung on one wall, watching over the crowd filtering in and out of the spacious booth (something of a respite from the packed avenues winding around other booths—with folks crowding around Damien Hirsts, Barbara Krugers, and Man Rays, this trio of tents felt like MoMA on a busy day). Formed from glass beads and thread, the mask-like sculptures bubbled and seduced as light bent over each grain-sized bead. Nearby, light spread more fluidly over the Baltimore native's hand-blown Murano glass sculpture 'Breathe,' a red, Buddha-like nude pulling a clear glass infant out from her own body with an almost unsettling ease. Beside her sat another Scott sculpture, the comical glass and wood couple 'Look Mom- A Doctor', atop a plywood crate—perhaps the one it arrived in—and behind Scott's figures hung three entrancing black, gray, and beige paintings by MICA professor Timothy App (who, full disclosure, taught both of these reporters), long recognized as a wizard of subtle color alchemy by way of geometric abstraction. On the adjacent wall hung two new paintings by fellow MICA faculty member Jo Smail, who here collages clippings from old recipes and a vintage brassiere advertisement and cakes on swaths of acidic red and blue paint. Among the other artists represented at Goya's booth were Fanny Sanin, Günther Förg, Louise Fishman, Sally Egbert, David Brown, Liliana Porter, Madeleine Keesing, George Rickey, Willhelm Mundt, Alfred Jensen, and Yayoi Kusama, who is among the most expensive living female artists—her small, glitter-dusted mixed media sculpture 'Flower Pink', one of two Kusamas on display at Goya, was going for $90,000.