This year pulled in 283 galleries from 43 countries — a sprawl of ambition and anxiety in equal parts — with 48 first-timers testing the Miami waters. More than 80,000 people passed through over the VIP and public days, a number the fair will no doubt trumpet, though anyone who has tried to get a taxi after 6 pm might swear the figure was higher. Still, the crowd mattered: collectors from across the Americas, Europe, Asia, Africa, and the Middle East turned up, wallets open and eyes wandering, confirming the fair’s hold as the Western Hemisphere’s biggest stage for Modern and contemporary art.
On the sales front, the mood was brisk rather than euphoric. Dealers reported strong placements at every tier — not the fever of the ultra-boom years, but a clear sign that institutions and serious collectors are still buying with intention. Works by Ruth Asawa, Sam Gilliam, Alice Neel, Andy Warhol, and Martin Wong found new homes, reaffirming the taste for postwar anchors. More interesting were the rediscoveries: Emma Amos, Eva Olivetti, Juliette Roche — artists who have been edging back into view and now seem to have fully arrived. And alongside them, the emerging cohort: Kelsey Isaacs, Cisco Merel, Adriel Visoto, names that flickered through conversations on the floor with the kind of curiosity fairs like this are supposed to generate.
What this edition showed, beneath the noise and the sunburn, is that Art Basel Miami Beach has settled into its role — a marketplace, yes, but also a barometer. The breadth of activity across programs, from blue-chip anchors to risk-taking, more petite galleries, suggested a scene that’s holding its nerve while still trying to surprise itself.
More than 240 museum representatives walked the aisles, quietly taking notes, scouting acquisitions, and reminding everyone that fairs remain, for better or worse, the gateways through which much of contemporary art now passes before it reaches the public.
Foundations worldwide:
The Art Gallery of Ontario (Canada); Aspen Art Museum (CO); Brooklyn Museum (NY); Carnegie Museum of Art (PA); Centre Pompidou (France); Crystal Bridges Museum of American Art (AR); Dallas Museum of Art (TX); El Museo del Barrio (NY); Fondation Beyeler (Switzerland); Fralin Museum of Art (VA); Getty Museum (CA); Guggenheim Museum (NY); Groeninghe (Belgium); Istanbul Museum of Modern Art (Turkey); LACMA (CA); Malba (Argentina); MALI – Museo de Arte de Lima (Peru); MCA Chicago (IL); The Metropolitan Museum of Art (NY); MFA Boston (MA); MFA Houston (TX); MOCA Los Angeles (CA); MoMA and MoMA PS1 (NY); Museu de Arte Moderna de São Paulo (MAM) (Brazil); Musée d’Art Contemporain de Montréal (Canada); Norton Museum of Art (FL); Palais de Tokyo (France); Seoul Museum of Art (Korea); Serpentine (UK); SFMOMA (CA); Städel Museum (Germany); Studio Museum in Harlem (NY); Tate (UK); Toledo Museum of Art (OH); Whitney Museum of American Art (NY); Zeitz MOCAA (South Africa), and more. Their presence reaffirmed the fair’s significance as a premier platform for institutional discovery, acquisition, and engagement across the Americas and beyond.
Meridians, now in its sixth edition, returned as the fair’s epicentre of curatorial ambition — a platform where artists and galleries from across the Americas and beyond push the limits of form. Curated by Yasmil Raymond, former Rector of the Städelschule and Director of Portikus, the 2025 edition — The Shape of Time — brought together 19 works by multigenerational and international artists whose practices probe how art can embody, distort, and suspend time. Ambitious large-scale installations, immersive media works, and monumental sculptures deepened this year’s expanded narrative of the Americas, reinforcing Meridians as one of the fair’s most anticipated and boundary-breaking sectors. Notable placements include Kye Christensen-Knowles’ mural-scale Cycle of Additional (2025) and Silva Rivas’ immersive video installation Buzzing (2009).
The inaugural edition of Zero 10, Art Basel’s new global initiative dedicated to art of the digital era, emerged as one of the defining successes of this year’s show. A dynamic hub of experimentation and cross-media exchange, the sector, curated by Eli Scheinman, drew strong interest from established collectors, new buyers, institutions, and the wider public — affirming the growing centrality of digital practice within contemporary art. Presentations by Beeple Studios, Heft, Nguyen Wahed, AOTM Gallery, Art Blocks, Asprey Studio, Fellowship x ARTXCODE, Pace Gallery, SOLOS, Visualise Value, and others registered exceptional momentum, with multiple works placing quickly across generative, computational, and hybrid physical-digital forms. Highlights included Beeple Studios’ sold-out editions of Regular Animals and significant engagement with leading digital artists such as Tyler Hobbs, Kim Asendorf, Joe Pease, and XCOPY, whose Coin Laundry attracted over 2.3 million NFT claims. Together, these results position Zero 10 as a breakout narrative of the 2025 edition and a vital platform for an expanded digital ecosystem ahead of its next iteration at Art Basel Hong Kong.
Conversations, Art Basel’s flagship talks program, recorded exceptionally robust attendance in Miami Beach. Held in the Auditorium of the Miami Beach Convention Centre from December 4–6 and free to the public, this year’s program opened with a day dedicated to the intersection of art and sport, featuring artists, athletes, and collectors, including Malcolm Jenkins and Elliot Perry, who explored the shared dynamics of endurance, legacy, and representation. In parallel with the debut of Zero 10, this year’s Digital Dialogues brought together emerging Web3 communities with established collectors, artists, and curators to examine the rapidly evolving relationship between art and technology.
The Art Basel Awards — presented in partnership with BOSS — marked a significant highlight of show week with the inaugural Art Basel Awards Night, supported by the City of Miami Beach and the Greater Miami Convention & Visitors Bureau. Hosted by Grammy Award–winning producer Kasseem “Swizz Beatz” Dean, the evening took place at the New World Centre — the celebrated Frank Gehry–designed landmark — and brought together leading figures from the worlds of art, design, fashion, music, and entertainment. Selected by their peers through a unique voting system, the first class of Gold Awardees included Ibrahim Mahama, Nairy Baghramian, and Cecilia Vicuña, who received the Icon Artist Gold Award. The evening also introduced the inaugural BOSS Award for Outstanding Achievement, presented to Meriem Bennani, underscoring the initiative’s mission to honour the visionaries shaping the future of art and culture. For the complete list of Gold Awardees and further details, click here. Event photography is available here.
Reflecting its longstanding partnership with Art Basel, the City of Miami Beach continued its Legacy Purchase Program for a seventh year, acquiring Modulations – Sequence XXIX by Peruvian artist Ximena Garrido-Lecca, presented by Livia Benavides, for its public art collection. Selected through a public vote, the initiative invited participation from exhibitors in Nova and Positions, as well as newcomers and recent entrants to the Galleries sector, presenting emerging or early-career artists. The program underscores the city’s commitment to fostering the next generation of artists and galleries and to building a cultural legacy that affirms art’s power to shape the future.
The CPGA–Villa Albertine Étant donnés Prize — presented by the Comité Professionnel des Galeries d’Art (the French Professional Committee of Art Galleries) in collaboration with Villa Albertine — returned for its fifth edition, recognising excellence in contemporary creation and highlighting the essential role of galleries in championing the French art scene internationally. At Art Basel Miami Beach 2025, Kelly Sinnapah, Mary and James Cohan Gallery received this year’s award, selected by a jury of international curators and collectors and supported by a $15,000 prize from the CPGA.
The Art Basel Shop returned to the West Lobby of the MBCC with a new USM design, offering limited-edition collaborations, artist-designed products, and bespoke Art Basel pieces that bridge art, design, and contemporary culture. Highlights included the AB by Artist capsule by Sanford Biggers — featuring jewellery created with Dodo and a suite of exclusive objects — alongside new additions to the Art Basel Core Collection. Special collaborations drew significant attention, among them the limited-edition Art Basel Miami Beach Labubu; the Art Basel x Inter Miami Jersey, an authentic pink kit released in a hand-numbered edition of 305; the Marc Jacobs JOY capsule designed with Derrick Adams, David Shrigley, and Hattie Stewart; a print from Iconic Moments by Emily Xie; and two colorways of Takashi Murakami’s Ohana Full Bloom and Surripa slides. Additional exclusive items rounded out a vibrant offering that connected visitors with the fair’s creative spirit.
Bridget Finn, Director of Art Basel Miami Beach, said: “Looking back on the 2025 edition, I am thrilled by the energy, ambition, and creativity that reverberated within and beyond our halls. With standout presentations, innovative projects, and record engagement, the fair reinforced its leadership in the Americas and its influence on the global art market. Through the fair’s core sectors, as well as initiatives like Zero 10 and the Art Basel Awards, and our revitalised Conversations program, we celebrated diverse artistic voices — from Latinx, Indigenous, and diasporic practices to emerging digital forms — creating moments of joy, discovery, and meaningful cross-cultural and cross-disciplinary exchange that will resonate well into the year ahead.”
John Mathews, Head of Private Wealth Management Americas at UBS, said: “This year’s fair was another standout example of Art Basel’s progressive commitment to artists and UBS’s longstanding support for cultivating ideas and dialogue that deepen public engagement with contemporary art. UBS was proud to present Beyond Pop: Art of the Everyday, featuring works that bridge the gap between fine art and pop culture. They reflect the core of the UBS Art Collection’s values that contemporary art can challenge us and inspire innovative thinking.”
Testimonials from this year’s participating exhibitors:
Marc Payot, President, Hauser & Wirth (New York, Paris, Hong Kong, Monaco, Menorca, Basel, Gstaad, Sankt Moritz, Zurich, London, Somerset, Los Angeles, West Hollywood)
“Christmas came early for our team. In the first three hours of the fair, our sales already totalled 40% more than we made in the entire week at last year’s Art Basel Miami Beach. The pace seemed almost leisurely on the surface, but business was consistently brisk.”
David Maupin, Co-Founder, Lehmann Maupin (New York, Seoul, London)
“There is no fair in the U.S. that rivals Art Basel Miami Beach. Every year, it’s one of our most productive and rewarding events on the art world calendar. We’ve placed over 15 works so far, which is a good indication of a healthier market heading into 2026.”
Alexandra Lovera, Sales Director, Proyectos Monclova (Mexico City)
“Art Basel Miami Beach has always been a landmark fair for us, but this year has surpassed every expectation. We sold our two most important works within the first hour, and by Day Two, nearly 50 works had found new homes. The energy, the calibre of collectors, and the support from the fair, especially from Bridget, made this edition truly outstanding.”
Pippy Houldsworth, Founder and Director, Pippy Houldsworth Gallery (London)
“Art Basel Miami Beach exceeded all expectations this year, and it was wonderful to see the market pick up so dramatically. We made a number of major sales, including important historical works by Jennifer Bartlett, Jacqueline de Jong, and Mary Kelly, as well as many sales by the younger artists in our roster, such as Katy Moran, Wangari Mathenge, Sophia Loeb, KV Duong, and Liorah Tchiprout.”
Eric Gleason, Co-Founder, Olney Gleason (New York)
“Art Basel Miami Beach was a triumphant finale after a historic year for our team and our artists. It also confirmed the market return we began to feel during the October fairs in Europe, our inaugural gallery exhibitions, and the November auctions. We started the week with news of our representation of Tony Lewis and placed all four of his works in our presentation with important private U.S. collections on Day One, along with over 20 other works by artists across our contemporary and historic program. Miami has a uniquely decisive atmosphere, and Noah, Bridget, and their team at Art Basel continue to attract committed collectors to the Miami experience.”
Martha Campbell & Christine Berry, Co-Founders, Berry Campbell (New York)
“Art Basel Miami Beach was the exclamation point to the end of a strong fall season. We had an exceptional start to the fair, and that momentum continued to build throughout the week, with strong sales of works by Mary Abbott, Elaine de Kooning, Perle Fine, Helen Frankenthaler, Mercedes Matter, Betty Parsons, Yvonne Thomas, and more. Collectors at the fair were highly discerning, seeking works of the highest calibre with strong market potential. Art Basel Miami Beach is a powerful platform for us to share our commitment to championing overlooked historic and contemporary women artists.”
Rose Lord, Managing Partner, Marian Goodman Gallery (New York, Paris, Los Angeles)
“Once again, Art Basel Miami Beach was a rewarding experience for us — with strong sales of our artists, including Nairy Baghramian, Tony Cragg, Edith Dekyndt, Bernard Frize, Julie Mehretu, Delcy Morelos, Anri Sala, Adrian Villar Rojas, and Yang Fudong among others — and engaged conversations with collectors and institutions from around the globe. It was wonderful to see the outreach to a wider audience through the Conversations program — one of which featured Tavares Strachan, whose landmark show at LACMA continues through March — as well as the new Art Basel Awards. We congratulate all the nominees and are particularly proud to see Delcy Morelos and Nairy Baghramian recognized in the Established Artist category, with Nairy receiving a Gold Award.”
Max Falkenstein, Senior Partner, Gladstone Gallery (New York, Brussels, Seoul)
“We’re thrilled with the tremendous reception our presentation had this week. We saw excellent sales of historical and contemporary works across a range of mediums, with placements in private and major institutional collections. Collectors were very thoughtful and engaged, which reflects the sustained demand and strong market for exceptional works.”
Piero Atchugarry, Director, Piero Atchugarry Gallery (Miami, Garzón)
“Presenting a solo exhibition of Eva Olivetti at Art Basel Miami Beach was both an honour and a responsibility. Eva was one of the few female artists to emerge from the Taller Torres-García, yet her contribution remained largely overlooked for decades. Our participation this year underscored the importance of rediscovering and revaluing women artists whose voices helped shape the history of Modern art. With this presentation, we hope to shed new light on Olivetti’s poetic vision and reaffirm her rightful place within the broader narrative of Latin American art.”
Peggy Leboeuf, Partner, Perrotin (New York, Hong Kong, Shanghai, Paris, Tokyo, Seoul, Dubai, London, Los Angeles, Las Vegas)
“On Day One, we sold over 25 works. MSCHF’s sculptures were a big hit, and it was fun to see everyone’s reaction to being able to touch the art or comment on the rivalry between Coca-Cola and Pepsi. The fair gives us an opportunity to share new collaborations at our gallery and institutions around the world. It was great to see the positive reaction from our audience.”
Andreas Gegner, Senior Director, Sprüth Magers (Berlin, London, Los Angeles, New York)
“We had another rewarding moment at Art Basel Miami Beach. Attendance was not only high, but also high quality, with great U.S. collectors, curators, and museum directors and an excellent first day of sales at a range of price points by artists including George Condo, Anne Imhof, Sterling Ruby, Rosemarie Trockel, and Andreas Schulze, whose first major U.S. exhibition opened this week at ICA Miami. We were especially pleased with the sale of a historical work by Craig Kauffman, showing a high level of connoisseurship. All in all, the atmosphere was positive and brought a nice end to the year.”
Daniel Roesler, Senior Director and Partner, Nara Roesler (São Paulo, Rio de Janeiro, New York)
“Our sales at Art Basel Miami Beach were exceptionally strong, with a mix of Brazilian, Mexican, American, and Asian collectors interested in the vitality of contemporary art that has roots in Brazil.”
Carlos Dale, Partner-Director, Almeida & Dale (São Paulo)
“Art Basel Miami Beach is one of the most important fairs in our calendar for the opportunities it creates to connect directly with institutions and collectors. This edition reinforced Almeida & Dale’s positioning as a global platform for artists of different nationalities and generations and reaffirmed the relevance of Brazilian art.”
Ricardo Gonzalez Ramos, Founder and Director, RGR Gallery (Mexico City)
“Participating in Meridians was an exceptional experience for RGR. It offered a unique opportunity to share dimensions of our artists’ practices that are rarely visible. The sector’s strong institutional presence and commitment to ambitious, large-scale installations make it a crucial platform for conversations that can only unfold through immersive, experiential work. This spirit carried through the fair as a whole, reflecting the remarkable quality and cohesiveness that define each sector of Art Basel Miami Beach.”
Tina Kim, Founder, Tina Kim Gallery (New York, Seoul)
“Art Basel Miami Beach was very strong this year. We made sales to new clients, including some attending the fair for the first time — a great sign that the Miami Beach fair is expanding its audience to new collectors. We placed works from across our postwar and contemporary program — by artists such as Lee ShinJa, Kim Tschang-Yeul, and Ha Chong-Hyun — with clients across the U.S., following the artists’ standout institutional showings this past year. It was an inspiring way to conclude 2025 and a healthy indicator of the market’s momentum heading into 2026.”
Livia Benavides, Founder and Director, Livia Benavides (Lima)
“Art Basel Miami Beach 2025 was a tremendous experience for our gallery. We are deeply grateful for the opportunities generated through the Legacy Purchase Program, particularly the City of Miami Beach’s acquisition of Ximena Garrido-Lecca’s work. Moments like these reaffirm the fair’s vital role as a bridge between Latin American artists and the wider institutional and collecting communities in the U.S. and beyond. For us, Art Basel Miami Beach continues to be an essential platform for strengthening our presence in the U.S. art market and for advancing the visibility of the artists we represent.”
Trevyn McGowan, Co-founder, Southern Guild (Cape Town, Los Angeles)
“Art Basel Miami Beach is the ultimate litmus test for the U.S. art market, and our first year at the fair was electric. This week, we also announced that we will open our Tribeca gallery in March 2026 and made significant and sustained sales throughout the fair to new and existing clients. At a shifting moment, it felt clear that this is a time for bold, agile, and authentic engagement.”
Edward Mitterrand, President, Galerie Mitterrand (Paris)
“After four successful years participating in the Survey sector, our presence in the Galleries sector was truly energising. From the very first couple of hours, we received sustained interest from collectors new to the gallery who also took the time to understand the narratives of the core of our program. Placing the entire suite of Pettibone’s works with a single collector and receiving such tremendous enthusiasm for our historical Cardenas sculptures were certainly highlights of the opening day. Art Basel Miami Beach remains a strong mix of sea, sun, and art, and this year’s momentum was a particularly powerful reminder of the market’s appetite for rigorously curated presentations seen across the fair.”
Monique Meloche, Founder, moniquemeloche (Chicago)
“With so many of our artists having important museum exhibitions coming up, we were thrilled to welcome multiple museum groups during the VIP Days and made several sales to their board members, with works by Lavar Munroe, David Antonio Cruz, Candida Alvarez, and Cheryl Pope placed.”
Lisa Carlson, Senior Director, Jane Lombard Gallery (New York)
“Art Basel Miami Beach offers a rare opportunity to see how artists across generations speak to the cultural and political urgencies of the moment. Our presentation brought together voices that navigate technology, heritage, and the structures that shape human experience, and Miami provides an ideal context for those dialogues to resonate. It is a place where global perspectives meet with immediacy, and where the range of our program can be felt in full.”
Sarah Gavlak, Founder, GAVLAK (West Palm Beach)
“As we participate in Art Basel Miami Beach for our eighteenth year, it’s remarkable to see how profoundly South Florida’s cultural landscape has shifted. When I opened my gallery in West Palm Beach in 2005, the contemporary art scene in South Florida was just beginning to form. Today, with increased gallery presence and institutions like The Norton Museum, The Bunker Art Space, and ICA Miami, our arts community is stronger and more dynamic than ever, and Art Basel Miami Beach continues to anchor and energize the market both locally and globally.”
Alana Ricca, Managing Director, Schoelkopf Gallery (New York)
“As always, Art Basel Miami Beach brought a global network of collectors and important institutions together, and continues to remain a vital extension of the gallery’s programming. Sales were very solid in the first hours of the fair, with the response to American Modernism at a high point and still growing. We were delighted to see such strong activity and engaged collectors.”
Rob Dimin, Founder, DIMIN (New York)
“Participating in the Meridians sector of Art Basel Miami Beach has been the biggest milestone in my professional journey as an art dealer! The gallery had conversations with museum directors, creators, and collectors from across the country and around the world, all of whom expressed earnest interest in the monumental painting by Justine Hill on view. It was an honour to be in the room.”
David Blum, Director, Peter Blum Gallery (New York)
“Miami operates on a scale unlike any other city during art week, and the Meridians sector at Art Basel embodies that energy. It offers the perfect platform for larger-than-life works whose scale, ambition, and visual impact create a powerful sense of presence. Here, monumentality isn’t just about size — it’s about significance.”
Wendy Olsoff, Co-Founder, P•P•O•W (New York)
“Art Basel continues to expand its global reach in ways that feel both ambitious and experimental — adapting each of their fairs to their geographic location and the unique strengths of their local environments. The presence and impact of its long-established edition in Miami Beach highlighted voices from around the world and focused on both young and established international galleries and artists. As this challenging year comes to a close, there was a real sense of renewed optimism around this year’s fair, especially after Paris and the New York auction seasons both felt buoyant. It is a time of serious recalibration in every single industry, and the art world feels like it is finally finding its footing, where curiosity and confidence in the market are starting to find their rhythm again.”
Alex Logsdail, CEO, Lisson Gallery (Beijing, Shanghai, London, Los Angeles, New York)
“There was a notable sense of buoyancy throughout the week, and that spirit carried into what became a successful fair for us. Throughout the fair, we connected with highly engaged collectors and curators, whose enthusiastic response to our upcoming program provides meaningful momentum as we head into the new year. Beyond the booth, our presence was reinforced by multiple solo museum exhibitions by gallery artists across the city. Once again, Miami affirmed its importance as a vital meeting point within the art ecosystem.”
Alexander Gray, Founder, Alexander Gray Associates (New York)
“After nearly a decade away, we returned to Art Basel Miami Beach because the timing — and the context — felt right. Over the past several years, we’ve seen a growing institutional and market focus on artists whose practices intersect with the social histories that have long shaped our program. The fair’s increasingly robust curatorial framework, along with its expanded engagement with legacy-building for historically significant artists, aligns closely with our mission and with the needs of our artists and estates. This year presented an ideal moment to re-engage.”
Diane Rosenstein, Owner, Diane Rosenstein Gallery (Los Angeles)”We were first-time participants at Art Basel Miami Beach and received an enthusiastic and exceptionally strong response — from both U.S. and new South American collectors — to our Survey presentation of Polish-American artist Julian Stanczak. It was an excellent experience.”
Andrew Edlin, Owner, Andrew Edlin Gallery (New York)
“The first two VIP Days of the fair were fantastic! Almost all our sales were to new collectors, which is the real gold we were mining at Art Basel Miami Beach.”
Daphne King, Global Director, Alisan Fine Arts (Hong Kong, New York)
“As a first-time exhibitor at Art Basel Miami Beach, we were pleasantly surprised by the positive reaction we received, in particular to the works of Walasse Ting, Ming Fay, and Justin Lim. This reinforces our commitment to showcasing Chinese diasporic artists across generations to a global audience. Sales definitely exceeded our expectations.”
Pearl Lam, Founder, Pearl Lam Galleries (Hong Kong, Shanghai)
“It’s been truly encouraging to see such genuine interest in established Chinese artists. The first day showed positive engagement, and throughout the rest of the week, that interest remained consistent, with meaningful conversations and thoughtful interactions around the works. We enjoyed being part of Art Basel Miami Beach for our second year.”
HyungTeh Do, CEO, Gallery Hyundai (Seoul, New York)
“We were delighted to meet many collectors from the region who expressed strong interest in our program, spanning Korean Modern masters to emerging artists. Sales exceeded our expectations.”
Tim Van Laere, Founder and Director, Tim Van Laere Gallery (Antwerp, Rome)
“Our experience at Art Basel Miami Beach was very dynamic, with a vibrant atmosphere and collectors from all around the world — especially from the U.S. and Latin America — showing remarkable enthusiasm. We were pleased to place works with collectors from the Caribbean and the Dominican Republic. We forged strong new connections, and the fair resulted in excellent sales. It’s always a pleasure to be in Miami in December, surrounded by great energy and outstanding exhibitions, including those on view at the Rubell Museum.”
Lorenzo Fiaschi, Co-founder, Galleria Continua (San Gimignano, Beijing, Habana, Les Moulins, Paris, Rome, São Paulo)
“Art Basel Miami Beach continues to be important for Galleria Continua, thanks to our connections across the Americas from Miami to Havana to São Paulo. This edition proved successful, featuring artists from five continents.”
Ethan Buchsbaum, Partner, Almine Rech (Paris, Brussels, Shanghai, Monaco, Gstaad, London, New York)
“It was a solid week for us, with steady interest and a consistent level of engagement from collectors. The overall atmosphere suggests a stable market, with collectors thoughtful but willing to move on strong works.”
Fred Arnal, Founder, Fellowship Gallery (London)
“Art Basel Miami Beach surprised us. The interest in Kinder Scout, from collectors, institutions, and the public, exceeded all expectations. The idea of humans and machines roaming together through uncharted latent space clearly resonates, offering an optimistic vision of what human-machine collaboration can become.”
Adolfo Cayón, Director, Cayón (Madrid, Manila, Menorca)
“Being our first year at Art Basel Miami Beach, it required a special effort from our side. We presented truly exceptional works for this edition, such as the Miró from the year 1955, which has not been on the market since 1957. Thus, we truly appreciate the connoisseurship of the clients attending this fair.”
Antonia Bergamin, Founding Partner, Galatea (São Paulo and Salvador)
“We were delighted that Galatea was stepping into the Galleries sector of Art Basel Miami Beach alongside Isla Flotante, two visions in sync through experimentation, discovery, and critical thought. Our joint presentation speaks to our belief in collaboration, in the power of exchange, and in the expansion of narratives across audiences and geographies. It is a partnership grounded in trust and in the certainty that art flourishes when shared.”
Jose Maria Mones Cazon, Founding Partner, Isla Flotante (Buenos Aires, São Paulo)
“By creating dialogues between Modern and contemporary artists, we renew conversations that have shaped Latin American art for decades. The partnership between Galatea and Isla Flotante as a joint booth was not only cost-effective; it also underscored the need to join forces to strengthen Latin American art.”
Sueyun Locks, Owner, Locks Gallery (Philadelphia)
“It was great to be back. Seeing collectors we first met two decades ago — who have grown and evolved alongside the gallery and our program — was especially meaningful. We’ve spent decades exhibiting artists such as Louise Bourgeois, Lynda Benglis, Jennifer Bartlett, and Pat Steir; sharing that 25-year evolution with the Art Basel Miami Beach audience is truly rewarding.”
Lucy Liu, Partner, Uffner & Liu (New York)
“We were excited to return for our second year in the Galleries sector at Art Basel Miami Beach. For a New York gallery, the Miami Beach edition is always a vital moment in the calendar for us — an opportunity to close the year with momentum and an anchor for our program and our relationships. The reach of the fair remains unparalleled in terms of the collectors and curators who attend.”
Pauline Pavec, Founder, Pavec (Paris)
“We had a very successful first participation at Art Basel Miami Beach in the Survey sector, where we placed several works, including major pieces. The response to Juliette Roche was especially enthusiastic. A truly uplifting moment for the gallery, confirming the relevance of our work in rediscovering historical artists and opening new institutional and international perspectives.”
Thomas Schulte, Galerie Thomas Schulte (Berlin)
“The opening of the fair showed a remarkable sense of momentum from the very beginning: within the first minutes, it was clear that interest was high and the response positive. The immediate sales that followed confirmed this impression and made it evident that we started the day on a constructive and promising note.”
Aniko Berman, Director, AOTM Gallery
“The response to our presentation of Dmitri Cherniak was tremendous. First VIP day sales were fast and steady towards fully selling out — to known crypto buyers as expected, but notably to new collectors as well, for whom this will be their first tokenised artwork. The aim of our Zero 10 presentation was to showcase and contextualise the breadth of Cherniak’s contribution to the digital art landscape, to debut his newest algorithm, Polygon Etcetera, and to introduce this work to new audiences. We successfully achieved all these things at Art Basel Miami Beach.”
Hugh Heslep, President, Art Blocks
“The inaugural edition of Zero 10 felt like a true coming-out moment for digital and generative art. Many of us have been building this space together for years, and to see our community take centre stage at Art Basel Miami Beach was both energising and deeply meaningful. We were proud to be part of a moment that felt less like an introduction and more like an arrival.”
Leyla Fakhr, Artistic Director, SOLOS Gallery
“Being at Art Basel Miami Beach as part of Zero 10 is more than simply participating in a prestigious fair alongside blue-chip galleries — it reflects a broader cultural shift shaped by the digital art space. Rather than digital artists ‘crossing over,’ it feels as though the more traditional art world is moving toward them. The reception was overwhelmingly positive, and it was evident that audiences are eager to understand web-native practices and how these artists think about labour, identity, and systems.”
Beeple, Founder, Beeple Studios
“It was amazing to see digital art have such a prominent space in the fair, and I think this will really help to show that this really is just another medium with the same ability to invoke emotion and critical conversation.”
Micol Apruzzese, Gallery Director, Fellowship
“We are extremely happy with how the audience responded and interacted with No Me Olvides by Ix Shells. The reaction, comments, questions, and feedback were nothing but positive, and the interactivity of the work added a powerful sense of engagement and participation in the work, which is unique.”
Sofia Garcia, Founder & Director, ARTXCODE
“It was beautiful to see the reception of No Me Olvides. The joy emanating from collectors and fairgoers as they interacted with the work was contagious.”
Alastair Walker, Chief Creative Officer, Asprey Studio
“Zero 10 is all about emerging artists, collectors, and galleries in the digital age. It represents the most contemporary form of art.”
Art Basel, whose Global Lead Partner is UBS, took place from December 5–7, 2025, with VIP Days on December 3–4 at the Miami Beach Convention Centre. The 2026 edition of the show will take place December 4–6.
Highlights across all sectors and regions, with full details in the attached report, include:
Piero Atchugarry (Miami, Pueblo Garzón) **Survey
Eva Olivetti, SOLEDAD, 1980, Oil on cardboard — Sold for just under USD 10,000 (to a prominent Miami collection)
Eva Olivetti, LA MAESTRA, c.1968, Oil on cardboard — Sold for USD 10,000 (to a prominent collection in London, UK)
Eva Olivetti, PAISAJE 20, c. 1970, Oil on cardboard — Sold for USD 10,000 (to a prominent collection in London, UK)
Eva Olivetti, CIUDAD VIEJA, c.1973, Oil on cardboard — Sold for a price in the range of USD 15,000 (to a U.S. collection)
Cayón (Madrid, Manila, Menorca)
Joan Miró, one work — Sold for an asking price of USD 2.6 million
Lucio Fontana, one work — Sold for an asking price of USD 1.5 million
Joan Miró, one work — Sold for a price in excess of USD 1 million
Catherine Clark Gallery (San Francisco) **Survey
Masami Teraoka, watercolour — Sold for USD 75,000
Masami Teraoka, watercolour — Sold for USD 68,000
Masami Teraoka, watercolour — Sold for USD 45,000
Masami Teraoka, lithograph and a cherry block woodcut — Sold for USD 9,000 each
Masami Teraoka, two prints — Sold for a price in the range of USD 3,800 – 9,000 each
Masami Teraoka, four woodcuts with UV print — Sold for USD 3,800 each
Masami Teraoka, two study drawings — Sold for a price in the range of USD 1,800 – 2,500 each
Masami Teraoka, three drawings — Sold for a price in the range of USD 3,500 – 9,000 each
El Apartamento (Havana, Madrid, Miami)
Ariamna Contino, two significant works made with hand-cut paper — Sold for USD 55,000 each (to private American and Latin American collectors)
Miki Leal, two large diptychs — Sold for USD 55,000 each (to American and European private collectors)
Miki Leal, three significant works — Sold for USD 30,000 each (to American and European private collectors)
Ariamna Contino, one mid-sized work made with hand-cut paper — Sold for USD 25,000 (to private American and Latin American collectors)
Diana Fonseca, two mid-size works made with assembled matches — Sold for USD 24,000 each (one to Jorge Perez and one to a private American collector)
Orestes Hernandez, large wood sculpture — Sold for USD 23,000 (to a Latin American collector)
Miki Leal, one mid-sized work — Sold for USD 20,000 (to American and European private collectors)
Ariamna Contino, five small works made with hand-cut paper — Sold for USD 16,000 each (to private American and Latin American collectors)
Miki Leal, one small work — Sold for USD 6,500 (to American and European private collectors)
Roberto Diago, seven works — Sold for a price in the range of USD 6,000 – 35,000 each (to American and Latin American collectors
Gladstone Gallery (New York, Brussels, Seoul)
Robert Rauschenberg, Tarnishedonor (Copperhead), 1989, silkscreen ink, acrylic, and tarnish on copper with brass frame — Sold for USD 1,500,000
Hauser & Wirth (New York, Paris, Hong Kong, Monaco, Menorca, Basel, Gstaad, Sankt Moritz, Zurich, London, Somerset, Los Angeles, West Hollywood)
George Condo, Untitled (Taxi Painting), 2011, acrylic, charcoal, and pastel on canvas — Sold for USD 3,995,000
Louise Bourgeois, Persistent Antagonism, 1946–1948, painted bronze, metal, and stainless steel — Sold for USD 3,200,000
Louise Bourgeois, Mr Follett: Nursery-Man, 1944, Oil on canvas board — Sold for USD 2,500,000
Ed Clark, Paris Series, 1990, acrylic on canvas — Sold for USD 1,200,000
Henry Taylor, Every Brotha Has a Record, 2020, acrylic on canvas — Sold for USD 1,200,000
Rashid Johnson, Standing Broken Soul “Nowhere Man”, 2025, ceramic tile, mirror, spray enamel, branded black walnut, oyster shell, oil stick, black soap, wax, bronze — Sold for USD 1,000,000
kó (Lagos)
Nike Davies-Okundaye, Flying Angel, 1969, bead mosaic with pen and ink on board — Sold for USD 120,000
Nike Davies-Okundaye, The lost cat, 1973, bead on board — Sold for USD 100,000 to Toledo Museum of Art
Nike Davies-Okundaye, The return of the farmers, 1969, hand-woven embroidery on cotton — Sold for USD 60,000
Nike Davies-Okundaye, Strength of a woman, 1973, hand-woven embroidery on cotton — Sold for USD 60,000
Nike Davies-Okundaye, The mushroom of life, 1979, batik with natural dyes — Sold for USD 30,000
Lehmann Maupin (New York, Seoul, London)
Do Ho Suh, Some/One, 2014, stainless steel military dog tags, nickel-plated copper sheets, steel structure, glass fibre reinforced resin, and rubber sheets — Sold for USD 1,000,000
Lévy Gorvy Dayan (New York)
Andy Warhol, Muhammad Ali, 1977 — Sold for a listing price of USD 18 million
Lomex (Mexico City)
Kye Christensen-Knowles, Cycle of Additional Life, 2025, Oil on linen — Sold for USD 170,000 **Meridians
Luis de Jesús Los Ángeles (Los Ángeles) **Nova
Hugo Crosthwaite, Mujer Toma Culebra (Woman Grabs Snake), 2024, acrylic, colour pencil, and gold marker on canvas — Sold for USD 40,000 (to a notable museum in Washington, DC)
Hugo Crosthwaite, Tijuacolor, 2024, acrylic and colour pencil on canvas — Sold for USD 40,000 (to a young Miami collector)
Hugo Crosthwaite, Frutas (Fruit), 2025, acrylic and colour pencil on canvas — Sold for USD 40,000 (to a young Miami collector)
Mai 36 (Zurich)
HR Giger, Tachistisches Kleisterbild, 1963, signed and dated recto, ink on paper on wood — Sold for USD 225,000 **Kabinett
HR Giger, Birth Machine Baby, 1998, aluminium — Sold for USD 125,000 **Kabinett
Raphael Hefti, Play with me cause I’m fire, 2025, natural noble gases, enclosed in 30 tubes made of silicate and Murano glass — Sold for USD 65,000
HR Giger, Alpha (Zwei Frauen I), 1969/2001, alu-eloxadized print — Sold for USD 50,000 **Kabinett
HR Giger, Untitled, 1985, signed and dated recto, ink and pencil on paper — Sold for USD 35,000 **Kabinett.
HR Giger, Drawing for Alien 3, Spine [1990-Z-085] / Verso: Drawing for Alien 3, Hand [1990-Z-095], 1990, signed and dated verso and recto, double-sided, pencil on paper — Sold for USD 35,000 **Kabinett
Gowoon Lee, Casper (Pink), 2024, Oil on canvas — Sold for USD 30,000
HR Giger, The Mystery of San Gottardo, 1990, signed and dated recto, ink on paper — Sold for USD 25,000 **Kabinett.
HR Giger, The Mystery of San Gottardo, 1990, ink on paper — Sold for USD 24,000 **Kabinett
Pace Gallery (New York, Berlin, Hong Kong, Seoul, Tokyo, Geneva, London, Los Angeles)
Sam Gilliam, Heroines, Beyoncé, Serena and Althea, 2020, acrylic on canvas — Sold for USD 1,100,000
Pavec (Paris) **Survey
Juliette Roche, Passage à niveau à Andance, 191, oil on canvas — Sold for EUR 48,000
P·P·O·W (New York)
Martin Wong, Tai Ping Tien Kuo (Tai Ping Kuo), 1982 — Sold for USD 1.6 million (to a prominent U.S. museum)
Almine Rech (Paris, Brussels, New York, Shanghai, Monaco, Gstaad)
Pablo Picasso, painting — Sold for a price in the range of USD 2,800,000 – 3,000,000
Rolf Art (Buenos Aires) **Nova
Roberto Huarcaya, Amazograma #5, 2014-2022, photogram on photosensitive paper — Sold for USD 160,000 (to a Colombian institution)
Mapa Teatro [Mapa Teatro in collaboration with the Nukak community and Javier Navarro], La vorágine más allá, Macharoko: Variación #3, El mundo de abajo, el mundo del medio y el mundo de arriba, 2024-2025, mural, mosaic composed of 12 engraved linoleum plates — Sold for USD 60,000 (to a private collection in Connecticut)
Silvia Rivas, Buzzing [Bonds] (2009-2025), video-installation — Sold for USD 35,000 (to a private collector from New York) **Meridians
Thaddaeus Ropac (London, Paris, Salzburg, Seoul)
Alex Katz, Orange Hat 2, 1973 — Sold for USD 2,500,000
Alex Katz, Wildflowers 1, 2010 — Sold for USD 1,500,000
Georg Baselitz, Selbstportrait 1953, 18.V.97, 1997 — Sold for EUR 1,000,000
Diane Rosenstein (Los Angeles) **Survey
Julian Stanczak, painting — Sold for a price in the range of USD 150,000 – 200,000
Julian Stanczak, three paintings — Sold for a price in the range of USD 100,000 – 200,000
Julian Stanczak, one painting — Sold for a price in the range of USD 30,000 – 50,000
Ryan Lee (New York) **Survey
Emma Amos, two works on paper — Sold for a price in the range of USD 35,000 to 45,000
Sprüth Magers (Berlin, London, Los Angeles, New York)
George Condo, Divided Single Portrait, 2025, acrylic, pastel, and metallic paint on linen — Sold for USD 1,800,000 (to a private U.S. collection)
George Condo, Open Forms, 2024, pastel, gesso, metallic paint and thrown pigment on paper — Sold for USD 1,200,000 (to a private collection)
Theta Gallery (New York) **Positions
Kelsey Isaacs, five paintings — Sold for a price in the range of USD 10,000 – 50,000 each (to collectors in New York, Los Angeles, Miami, and Denver)
Kelsey Isaacs, sculptural video installation — Sold for a price in the range of USD 10,000 – 50,000 (to a Peruvian collector)
Union Pacific (London) **Nova
Jin Han Lee, Lovers Between Lines, 2025, Oil on linen — Sold for GBP 20,000
Jin Han Lee, Fall, Fly, 2025, Oil on linen — Sold for GBP 20,000
Jin Han Lee, Empty, Clumsy, Small, Good and Wrong, 2025, Oil on linen — Sold for GBP 20,000
Koak, Bather, 2022, bronze with silver nitrate patina — Sold for USD 18,000
Verve (São Paulo) **Positions
Adriel Visoto, twelve paintings — Sold for a price in the range of USD 9,500 – 30,000 (to collectors from Switzerland, Belgium, France, New York, U.S., Atlanta, Georgia, U.S., and Miami, Florida, U.S.)
White Cube (London, Hong Kong, Paris, Seoul, New York)
Willem de Kooning, Untitled Woman, 1978, Oil on paper mounted on Masonite — Sold for USD 2,850,000
Damien Hirst, When the Heart Speaks, 2005, glass, stainless steel, steel, aluminium, nickel, bismuth, cast resin, colored plaster, and painted pills with dried transfers — Sold for USD 2,500,000
Tracey Emin, Too Much Force, 2025, acrylic on canvas — Sold for GBP 1,200,000
Andreas Gursky, Harry Styles, 2025, inkjet print and Diasec — Sold for EUR 1,200,000
Richard Hunt, Half Circle Runner, 1979, welded bronze — Sold for USD 1,000,000
Yve YANG (New York) **Nova
Wang Ye, one handmade silk embroidery piece — Sold for a price in the range of USD 30,000 – 50,000
David Zwirner (New York, Paris, Hong Kong, London, Los Angeles)
Gerhard Richter, Abstract Painting — Sold for USD 5.5 million
Alice Neel, painting (1967) — Sold for USD 3.3 million
Josef Albers, Homage to the Square (1955) — Sold for USD 2.5 million
Josef Albers, Homage to the Square (1964) — Sold for USD 2.2 million
Dana Schutz, new painting — Sold for USD 1.2 million (to an American museum)
Ruth Asawa, wall-mounted tied-wire sculpture (c. 1969) — Sold for USD 1.2 million.