If you feel art fairs are intruding ever more into your life, you’re apt to find the second edition of Frieze New York an especially in-your-face experience — in a good way, of course, like spring sun.

Although little in the way of new styles or approaches announces itself here, the art insistently pushes your space, which is to say that work in three dimensions predominates, if not in quantity, then in quality and energy level. Even pieces on the wall extrude, vying for attention. At Peter Blum, a beefy Rosy Keyser painting in corrugated metal and sliced oil drum appears to be trying to rip itself off the wall, while the Rashid Johnson and Matthew Day Jackson paintings at Hauser & Wirth’s booth share a heavy, sculptural density.

Indeed, a thick vein of muscularity runs through Frieze’s bright tent. Nick van Woert’s chromed gym weight machine, with agglomerations of cat litter affixed, squats like a comely alien in Grimm Gallery’s booth. At Gagosian stands an impressively large ring — probably as tall as its artist — which Dan Colen made out of shattered Plexiglas basketball backboards.

At Kukje Gallery, Ghada Amer’s sphere of Arabic script in blackened bronze continues the theme, yet the booth as a whole has one of the most elegant presentations on view. Amer’s sphere rhymes with two collages by Haegue Yang, which repeat the circle motif in sandpaper and cardboard; with Sora Kim’s photograph “Turtle Walk,” 2010, which depicts two people carrying large white disks down urban stairs; and with Yee Sookyung’s two bulbous “Translated Vases,” 2010, made from ceramic seamed in gold leaf.

Still, despite the brawn, a number of successful delicate efforts can be found, chief among them Abraham Cruzvillegas’s “April in Paris (brief & delirious),” 2012, a calligraphic floor sculpture in rebar, fabric, feathers, and strewn bottle caps, at Regen Projects. Gabriel Orozco employs feathers to equally fine effect in his hanging sculpture at Galerie Chantal Crousel. Also, one must certainly file under delicate the two Sarah Sze works spotted: the kinetic assemblage “Timed Twenty-five (Sun Dial),” at Victoria Miro, and the pendulum, tripod, and tools that constitute “Slow Sieve (Water Diviner),” 2013, at Tanya Bonakdar.

But no piece at the fair is more lifelike, or magical, than Tino Sehgal’s at Marian Goodman’s booth. In a small room a young girl takes on the role of “Ann Lee,” originally a manga character (the rights to which were bought by artists Philippe Parreno and Pierre Huyghe, who deploy her image in their work). Her interactive performance explores what it’s like to live suddenly in three dimensions. The sculptural work succeeds in drawing one into the booths to check out what’s on the walls.

Among the surprises at Frieze are Becky Beasley’s photographs of fabric at Laura Bartlett Gallery and Pablo Bronstein’s ink and watercolor drawing “Tiepolo’s Triumph of Marius Entering the Metropolitan Museum,” a rare work that puts art handling center stage, on view at Herald St. Of the paintings on offer, Caragh Thuring’s seven canvases at Simon Preston, so spare they almost dissolve the figurative into the abstract, whisper at you alluringly.

This year’s Frieze demands your attention, by any means necessary. At least it’s deserving.