But the fair harbors new talents of all kinds, which bodes well for modest prices, and other artists who aren’t yet household names among outsider fans. Maxwell Projects has vividly detailed paintings of painters at work in a studio (the same one every time) by Elisabeth Aldwell.

Ricco/Maresca has tiny symbol-laden landscapes by Ben Hotchkiss. Andrew Edlin is introducing the work of Frank Calloway, an Alabaman whose images of houses, cars and animals executed in saturated colors on large rolls of paper, approach billboard scale. Keep a special eye out for Stephen Palmer (1882-1965), a Wisconsin farmer who, after becoming bedridden, turned out shrinelike portraits of Jesus and other religious figures framed in bright curvilinear plant patterns that suggest fancy, demonic playing cards. His work, recently discovered in the estate sale of his caretaker, is making a double debut at the Carl Hammer and Ricco/Maresca stands. He stands a good chance of joining the outsider pantheon.

Other firsts include the mesmerizing childhood crayon drawings of a Philadelphia artist named Violetta Raditz (1912-1998) at Luise Ross. They were all made around 1920, and their suave lines and rich, subtle palette reflect a precocious talent fed by an early exposure to the Ballet Russe, Japanese art and possibly Aubrey Beardsley. The Ames Gallery is introducing the large, lusciously colored canvases of Ursula Barnes (1872-1958), whose experience as a dancer on the New York stage may have encouraged a penchant for blond Mae West-like damsels and turn-of-the-century dress.

Across the aisle the related, but contemporary paintings of Y. G. Casey (1923-2002) stand out at Rising Fawn Folk Art. Ms. Casey stippled obsessively with tester paints on plastic, achieving large enamel-like scenes best described as Neo-Victorian with a sexual slant. Nearby, Virginia Green, a dealer of modern and contemporary art, has devoted her stand to the work of Douglas Desjardins. This 31-year-old artist usually sells his exuberant, often tropical paintings, executed on found scraps of plywood, on the streets of SoHo. Ms. Green bought one last spring, was struck by its staying power and there you have it: both artist and dealer are making their Outsider Art Fair debuts.

Gary Snyder’s stand is all about Janet Sobel (1894-1968), the canny outsider credited with developing a version of drip painting that influenced Jackson Pollock. The selection here traces the development of her figurative work during the 1940s and early ’50s, from conventional folk art to increasingly wild, colorful and all-over compositions. They establish a telling call-and-response with the wild women of the great Swiss outsider Aloïse Corbaz (1886-1964) at Safian.

What else? Plenty. Not to be missed are the hallucinatory abstract patterns of Eugene Andolsek at American Primitive; the heated-up Ecuadoran tourist paintings of Luis Millingalli at Grey Carter; the intimate painted and annotated collages, made from cereal boxes, by Jerry Wagner, a former handyman, Yeshiva student and folk singer from Rhode Island at George Jacobs Self-Taught Art; the billowing images of Amos Ferguson, the 88-year-old Bahamian artist at Bonheur known as the Picasso of Nassau; and the wall of African salon signs at Pardee. Did I mention the hypnotic portrait of André Breton, the autocratic pope of Surrealism, by Miguel Hernandez (1893-1957) at Ritsch-Fisch? It does full justice to the pontiff’s famously capricious charm.