As Frieze Week fills London's galleries, the ghost presiding over many of the city's most talked-about shows is Rene Magritte. The Belgian Surrealist, who died in 1967, is the anchor of a major Gagosian London exhibition, This Is Still Not a Pipe: The Afterlife of Magritte, on view from September 24 through December 12. But his influence is spilling well beyond that one show, surfacing in new paintings across town that borrow his taste for the ordinary made strange. At Sadie Coles, Nicole Eisenman is showing ten new works through November 21, and the Magritte connection is hard to miss. Her monumental painting The Waiter, from 2026, stretches 11 by 21 feet and sets high-definition planets and swirling galaxies above the lichen-covered stones of Stonehenge, with a lone waiter in an open collar and limp bowtie gazing up at the cosmos as if at the end of a long shift. The effect recalls Magritte's signature trick: placing a perfectly mundane figure inside an impossible scene and letting the mismatch do the work. Eisenman's Parking Lot of Violent Forces and Depressive Positions, also from 2026, pushes the same logic into darker territory. The painting draws on the flat, empty expanses of Magritte works such as The Flowers of the Journey and The Leader of the Band, and nods to the oozing forms of his short-lived vache period, including Pictorial Content from 1947. In Eisenman's version, the unease is contemporary: figures resembling immigration agents crowd into a clown car to patrol a desolate strip mall, while a monstrous shape of exhaust fumes looms nearby. The pattern continues at David Zwirner, where Louis Fratino's Summer in the City, painted in 2026, echoes the ambiguity of Magritte's The Commonplace from 1964. Across these shows, what recurs is not pastiche but a shared method: holding two incompatible realities in one frame and refusing to resolve them.