With Frieze London and Frieze Masters in full swing in Regent's Park, artnet's daily bulletin turned its attention this week to the satellite fairs jostling for the overflow crowd. The verdict on the year's new entrants was sharply divided, and the hits and misses tell their own story about a market hunting for intimacy.

The clearest win belonged to the London Invitational, an offshoot of the Dallas Invitational that took over 13 suites at the Chancery Rosewood hotel in Mayfair. Founder James Cope, a British-born dealer based in Dallas, praised the domestic setting for slowing the fair experience down, and artnet's writer was won over by François Ghebaly's presentation of pocket-sized Jessie Makinson paintings. Paraiso, London's new fair dedicated to Latin American art, was the other surprise triumph: its underground space filled with Spanish chatter and a memorable Guatemala City presentation by La Rebelde gallery, complete with a demonic cat and splattered severed fingers.

Minor Attractions, the hotel-format fair now in its fourth edition and freshly installed at the Newman hotel, got a more qualified review. An installation by Nelly Dansen for LUmkA gallery about a saucy job interview amused, as did a claw machine by Savannah Harris for Harlesden High Street, but the writer found the whole thing more novelty than serious engagement — and warned that three new satellite rivals are circling.

Newcomer Fair Play, which bills itself as an "artist-first" fair, fared worst: its promise of 70 artists chosen "on merit alone" was judged inconsistent, despite strong photographic-style paintings by Calder McKay and sculptures by Poppy Lennox. Beyond the fairs, the bulletin flagged new paintings by Mahi Binebine at the Twenty Two hotel, Maria Kreyn's debut at the Swiss Church in Covent Garden, and Tadashi Kawamata's installation of piled wooden crates at Ruinart's art bar — confirmation that Frieze Week now spills far beyond the park.