Art Basel 2018 Round-Up Reports Buoyant Sales At Core Event

Basel 2018

Art Basel Switzerland which is always an important barometer in the art market has reported that some of the world’s premier galleries experienced remarkable sales across all levels of the market.

The fair in Basel closed on Sunday, June 17, 2018, amid reports of significant sales to private collections and institutions by galleries across all market sectors. Once more, Art Basel drew in a particularly strong turnout of both established and new collectors, from over 100 countries, with exceptionally robust attendance from Europe and Asia. The show took place at Messe Basel from June 14 to June 17, 2018, and attracted an attendance of nearly 95,000 and once again proved to be a crucial meeting place for the international art world.

Basel 2018
Basel 2018

The show, whose Lead Partner is UBS, brought together 290 premier galleries from 35 countries, presenting extraordinary contemporary and Modern works by over 4,000 artists. Leading private collectors from Europe, the Americas, Asia, Africa and the Middle East attended this year, as well as representatives from over 400 museums and institutions, including: The Bass, Miami Beach; Brooklyn Museum, New York; Centre Pompidou Foundation, Paris; Hammer Museum, Los Angeles; Louisiana Museum of Modern Art, Copenhagen; Los Angeles County Museum of Art; The Museum of Modern Art, New York; Norval Foundation, Cape Town; Rockbund Art Museum, Shanghai; Serpentine Galleries, London; Solomon R. Guggenheim Museum, New York; Tate, London; and Yuz Museum, Shanghai.

Galleries exhibiting in all sectors of Art Basel were positive at this year’s show:

‘This has been our most successful fair in the history of the gallery.’ Stefan von Bartha, Director, von Bartha, Basel, S-chanf

‘Our participation at Art Basel in Basel this year represents our first presentation in the Galleries sector, which allowed us to present our program in depth and bring powerful artworks by our best artists. The response was great — we met new people, and we had many visits from important institutions on the first day. This is clearly the best fair in the world!’ Thiago Gomide, Owner, Bergamin & Gomide, São Paulo

‘Overall it was a great show: focused on the first two days; steady and serious crowd; mannered and methodical buying at a steady pace. Connoisseurship reigns.’
Tim Blum, Owner, Blum & Poe, Los Angeles, New York, Tokyo

‘Art Basel has provided a confident platform to advance our gallery’s mission of expanding the canon of contemporary art.’
Alexander Gray, Owner, Alexander Gray Associates, New York

Basel 2018
Basel 2018

‘I love the diversity of the platform, and the art is full of pleasant surprises. I have also been really pleased with the attendance and the level of interest we have been receiving the two artists from India and China, Nilima Sheikh and Qiu Zhijie. Reception from European collectors and museums have been particularly encouraging.’
Johnson TZ Chang, Founder and Director, Hanart TZ Gallery, Hong Kong

‘We had a fantastic experience this year at Art Basel in the Statements sector, where we exhibited work by Doreen Garner, introducing her work to many incredible collections in Europe, Asia and America. We placed the centrepiece of the booth with an amazing collection here in Europe, and look forward to the coming months and the opportunities that come from what began here in Statements.’ Jasmin Tsou, Founder and Owner, JTT, New York

‘I continue to be impressed by the very serious old and new European buyers, including many museums. You can tell there is trust in Art Basel as the original art fair that can only be built over time. The excellent museum shows such as Bruce Nauman at Schaulager, and Bacon-Giacometti at Fondation Beyeler held visitors’ attention around the city as well, and we’re pleased with the works we placed in institutions in the US, Europe and Asia. It was a great year for women artists—Mary Corse, Lee Bul, Teresita Fernández all had major sales.’  Rachel Lehmann, Co-Founder, Lehmann Maupin, New York, Hong Kong

‘We began the week with our John Baldessari show at the gallery during Zurich Gallery Weekend, which was extremely successful. Things kicked off very well at Art Basel, and we have made sales throughout the week, including the weekend.’ Victor Gisler, Owner, Mai 36 Galerie, Zurich

‘We were thrilled to be at Art Basel 2018 with two very strong and distinct presentations, including a solo presentation of works by the Brazilian artist Paulo Bruscky and an important work by Paul Ramirez Jonas in Unlimited. Galeria Nara Roesler is proud to continue in our support of these two artists, and there is no better forum for us to do so than among the international audience of art lovers at Art Basel.’ Alexandre Roesler, Partner and Senior Director, Galeria Nara Roesler, São Paulo, Rio de Janeiro, New York

‘This year’s Art Basel stands out as one of the most successful for Galerie Thaddaeus Ropac in our history of participating at this pre-eminent fair. Even before the fair opened, we noticed that the interest and enthusiasm for what we were bringing to the fair was at an all-time high, and there was a sustained palpable excitement of both the discerning collectors and the significant number of important institutions on our stand.’ Thaddaeus Ropac, Owner, Galerie Thaddaeus Ropac, London, Paris, Salzburg

‘We are always very happy at Art Basel. There is a great audience, great management and we met new collectors.’
Rüdiger Schöttle, Owner, Galerie Rüdiger Schöttle, Munich

‘Art Basel is a barometer for the art world, and it’s interesting to see collectors enthusiastically returning every year, looking for new works by our artists. I was especially pleased with the number of institutions and museums that visited the fair and our booth; and to see Marwan get the attention that he deserves and some of his works join prestigious collections.’ Andrée Sfeir-Semler, Owner, Sfeir-Semler Gallery, Hamburg, Beirut

‘For this year’s show, the gallery brought together a number of significant artists whose works have a timely political and social relevance to the current climate. At the same time, we showed George Condo, Sterling Ruby, Andro Wekua and Rosemarie Trockel in regards to the recent painterly discourse. It was a concept that the collectors really connected with that reflected in the sales. We were happy to have placed these important works in collections across Europe, Asia and the US, reaffirming Art Basel as the leading international fair.’
Monika Sprüth, Co-Owner, Sprüth Magers, Berlin, London, Los Angeles

‘It is wonderful to see a growing group of friends from our part of the world make the annual pilgrimage to Basel. Collectors seemed to have noticed the recent biennales in Dakar and Berlin, based on the interest at the fair in the work of Portia Zvavahera, Meschac Gaba and Moshekwa Langa. All in all, this has been our best year yet.’
Joost Bosland, Partner, Stevenson, Cape Town, Johannesburg

‘Art Basel in Basel has been fantastic. The most exciting aspect of this year’s edition has been the fact that we sold works to many of our Asian clients, with whom we have been building relationships over the past several years by participating in Art Basel in Hong Kong.’
Lisa Spellman, Owner, 303 Gallery, New York

‘We are very pleased with the fair’s ability to attract new collectors. Of course, we love to see our returning clients each year, but we are also very excited to place works in different countries and in new collections. This year we met new clients from India, China, Russia, Turkey and Bangladesh and are thrilled to be sending our artists’ works out into the world!’
Evelyn Lasry, Owner, Two Palms, New York

‘It was a privilege to participate in the Galleries sector for the first time in Art Basel as it definitely helped us promote our program dedicated to the arts of East Asia. The sales result was wonderful and it proved that the interest for modern and contemporary Asian art continues to grow among the collectors and institutions around the world.’
Hozu Yamamoto, Gallery Owner, Tokyo Gallery + BTAP, Beijing, Tokyo

‘It was magnificent to participate in the Feature sector this year. We met top museum curators who also bought works from the stand. We are so happy that we could introduce Marinus Boezem, a conceptual artist from the 1960s, to a new audience.’
Martijn Dijkstra, Co-Owner, Upstream Gallery, Amsterdam

‘It’s been our honor to participate at Art Basel’s Basel show for the first time. Our presentations at both the Statements and the Unlimited sectors have received great response from art institutions, curators and collectors. We’ve sold all the works on display.’
Zhang Di, Director and Partner, White Space Beijing, Beijing

The main sector of the show presented 227 of the world’s leading galleries showing painting, sculpture, drawing, installation, photography, video and editioned works of the highest quality. Overall, the gallery sector was rejuvenated by ten galleries participating in Galleries for the first time. 47 Canal, Alexander Gray Associates, Bergamin & Gomide, Casas Riegner, Kadel Willborn, Kate MacGarry, KOW, Mendes Wood DM, mother’s tankstation limited and Tokyo Gallery + BTAP joined the main sector of the fair having previously exhibited in Feature and Statements. These additions reflected Art Basel’s efforts to steadily bring younger galleries and the next generation of Modern galleries into the main sector of the fair, where they can show the full range of their programs. For the full list of exhibitors in Galleries, please visit

Edition: The sector presented 14 global leaders in the field of prints and editioned works: Brooke Alexander, Inc., Niels Borch Jensen Gallery and Editions, Alan Cristea Gallery, mfc – michèle Didier, Atelier-Editions Fanal, Gemini G.E.L., Sabine Knust, Lelong Editions, Carolina Nitsch, Paragon, Polígrafa Obra Gràfica, Susan Sheehan Gallery, STPI and Two Palms. In addition to its stand presentation, Alan Cristea Gallery was selected to present ‘Land 0˚ – 135˚ and Sea 0˚ – 135˚’ (2009) by Jan Dibbets on the Spotlight wall facing the Rundhof, which forms part of the Edition sector. For the full exhibitor list for Edition, please visit

Feature: 31 galleries presented ambitiously curated projects by both historical and contemporary artists in the Feature sector, with six galleries entirely new for the show. Highlights from the sector included: Jef Geys at Galerie Max Mayer, Lubaina Himid at Hollybush Gardens and Nil Yalter at Galerist. For the full exhibitor list for Feature, please visit

Statements: Showcased by 18 exciting young international galleries, solo presentations in Statements offered visitors and collectors the opportunity to discover quality work by emerging artists. The sector welcomed ten galleries exhibiting at the Basel show for the first time: Sandy Brown, Carlos/Ishikawa, Croy Nielsen, Essex Street, Freedman Fitzpatrick, Jan Kaps, Antoine Levi, Madragoa, mor charpentier and White Space Beijing. For the full exhibitor list for Statements, please visit

This year marked the 20th anniversary of the Baloise Art Prize, which was awarded to Suki Seokyeong Kang at One and J. Gallery and Lawrence Abu Hamdan at mor charpentier. A jury of international experts awarded CHF 30, 000 to each artist, and their works were acquired by the Baloise Group and donated to MUDAM Luxembourg and the Museum für Gegenwart, Berlin.

Unlimited: This year Unlimited took place on the upper floor of Hall 1. Art Basel’s unique platform for large-scale projects, the sector once again offered galleries the opportunity to showcase monumental installations, sculptures, video projections, wall paintings, photographic series and performance art that transcend the traditional art fair stand. Curated for the seventh year by Gianni Jetzer, Curator-at-Large at the Hirshhorn Museum and Sculpture Garden in Washington D.C., both historical and contemporary works were represented, celebrating renowned masters as well as emerging artists, including: Matthew Barney, Yto Barrada, Daniel Buren, Horia Damian, Camille Henrot, Jenny Holzer, Mark Leckey, Lee Ufan, Inge Mahn, Lygia Pape, Jon Rafman, Michael Rakowitz, Nedko Solakov, Martine Syms, Barthélémy Toguo and Yu Hong. Once again, galleries reported strong sales from the sector. For the full exhibitor list for Unlimited, please visit

Parcours: Reflecting on the political potentials of storytelling and seeking to investigate what stories can tell us about our lives, this year’s Parcours was curated for the third consecutive year by Samuel Leuenberger, Director and Curator of SALTS in Birsfelden, Switzerland. The sector presented 23 site-specific artworks displayed throughout Basel’s historic center by: Silvia Bächli & Eric Hattan, Nina Beier, stanley brouwn, Julian Charrière, Keren Cytter, Simon Denny, Elmgreen & Dragset, Georg Herold, Pierre Huyghe, Hilary Lloyd, Mark Manders, Caroline Mesquita, Rivane Neuenschwander, Marina Pinsky, Julian Rosefeldt, Nedko Solakov, Simon Starling, Jessica Stockholder, Thomas Struth, Paloma Varga Weisz and Hannah Weinberger. From June 11 to June 17, 2018, Parcours was attended by about 12,000 people. For the full artist and exhibitor list of Parcours, please visit

During Parcours Night on Saturday, June 16, all project venues stayed open late with special live performances featuring artists Keren Cytter, Jean-Pascal Flavien, Ad Minoliti, Venuri Perera and Luke Willis Thompson. In addition, Thomas Struth presented two music performances by Maurizio Grandinetti and Walter Fähndrich.

Film: Consisting of 16 film and video works presented by the show’s participating galleries, Art Basel’s Film program was curated for the fourth year by Cairo-based film curator Maxa Zoller. This year’s program sought to attribute new meanings to found footage within filmmaking and brought together leading artists from across the world, with a strong focus on South Africa. The Art Basel Film program was screened at the Stadtkino Basel and was attended by about 600 visitors. For the full program, please visit

Conversations: Art Basel’s renowned talks series brought together leading artists, gallerists, collectors, art historians, curators, museum directors and critics from across the world. Programmed for the fourth year by Mari Spirito, Founding Director of Protocinema, Istanbul, the program featured 25 talks and served as a platform for dialogues and discussions on current topics such as sexism in the art world to blockchain technology, and offered perspectives on producing, collecting and exhibiting art. This year’s Premiere Artist Talk was devoted to Michael Rakowitz. Conversations was free and open to the public and attended by almost 3,000 people.

Visitors to Basel were offered a range of outstanding exhibitions by the city’s leading museums. Major exhibitions coinciding with Art Basel including VoltVOLTA’s homecoming to its original area in Basel, near the Voltaplatz, was a return to the values of what made the fair a substantial alternative to Art Basel and a link beyond Liste: quality and discovery from a spectrum of artists at a spectrum of entry-points. For the seasoned collector and nascent art-lover, there was much value to be found in the fair’s new home at Elsässerstrasse 215, as echoed by patron VIPs, veteran galleries, and newer colleagues alike. “On Monday morning we all had butterflies in our stomachs, but by day’s end it was clear that the move was overall a positive development,” stated VOLTA’s Artistic Director, Amanda Coulson. “It feels good to be back in a neighbourhood that we helped brand and will continue to have a hand in developing into the future.”

Here are some of the sales figures courtesy of Artnet

$1 million – $14 million

$14 million: Joan Mitchell’s 1969 Composition, sold by Hauser & Wirth to a European collection

$14 million: Joan Mitchell’s Untitled (1959) at Lévy Gorvy

$7.5 million: A Joan Mitchell painting at David Zwirner

$7.5 million: Joan Mitchell’s Syrtis (1961) at Lévy Gorvy

$6 million: Joan Mitchell’s Red Tree at Cheim & Read

$4.5 million: Keith Haring‘s Untitled (1984) at Acquavella Galleries

$3.9 million: Mark Bradford‘s You Must Have Fell and Hit Your Head (2001) at Mnuchin Gallery

$2.5 million: David Hockney‘s Chrysanthemums (1996) at Pace

$2.5 million: George Condo‘s Autumn in Soho (2011) at Almine Rech Gallery

$2.5 million: Mark Bradford’s Battle (Trimmed Extra) at Hauser & Wirth

$1.8 million: Barkley L. Hendricks’s Greg (1973) at Jack Shainman Gallery

$1.73 million: Yu Hong’s Old Man Yu Gong Is Still Moving Away Mountains (2017), from the Unlimited section, at Long March Space

$1.6 million: Francis Picabia‘s Les baigneuses, femmes nues au bord de mer at Hauser & Wirth

$1.45 million: Robert Rauschenberg‘s Ruby Re-Run (1978) at Galerie Thaddaeus Ropac

$1.3 million: George Condo’s Portrait of an English Lady (2008) at Xavier Hufkens

$1.2 million: Mira Schendel’s Untitled (1963) at Hauser & Wirth

$1.2 million: Vija Celmins‘s Untitled (Knife and Dish) (1964) at Matthew Marks Gallery

In excess of $1 million: George Condo’s Green and Purple Head Composition (2018) at Sprüth Magers

In excess of $1 million: David Hockney’s The Big Hawthorn (2008) at Annely Juda

In excess of $1 million: Sophie Taeuber-Arp’s Six Espaces Distinct (1939) at von Bartha Gallery

$880,000 – $200,000

$880,000: Georg Baselitz’s Noch kein Braun, aber Rosa (2018) at Galerie Thaddaeus Ropac

$850,000: Sam Gilliam’s beveled-edge work Repeat (1971) at David Kordansky

$753,000: Günther Förg’s Untitled (1993) at Hauser & Wirth

$650,000 each: Paintings by Robert Ryman from his 2008 series Large-small, thick-thin, light reflecting, light absorbing at Pace

$637,000: Georg Baselitz’s Man sieht noch etwas (2018) at Galerie Thaddaeus Ropac

$550,000: Frank Stella‘s Red Star at Marianne Boesky Gallery

$550,000: Carmen Herrera’s Arco (2018) at Lisson Gallery

$550,000: Tom Wesselmann‘s Study for Blue Nude #8 at Almine Rech

$550,000: A painting by Per Kirkeby at Michael Werner Gallery

$550,000: John Baldessari‘s Four Types of Balance (With Basketballs) (1990) at Sprüth Magers

$531,000: Bridget Riley‘s Measure for Measure 6 (2016) at Galerie Max Hetzler

$525,000: Mario Schifano‘s Per La Strada-Ma Tutto Finto (1963) at Fergus McCaffrey, NY

$475,000: Sam Francis‘s Untitled (White Line) at Mnuchin Gallery

$475,000: Elizabeth Peyton‘s Hanyu (Yuzuru Hanyu) (2018) at Galerie Thaddaeus Ropac

$464,000: Günther Förg’s Untitled (2005) at Galerie Max Hetzler

$450,000: McArthur Binion’s DNA Painting from the Unlimited section, presented by Lehmann Maupin and Massimo de Carlo

$400,000: Jonas Wood‘s Japanese Garden 2 (2018) at David Kordansky

$400,000: Stanley Whitney’s Untitled (1999) at Lisson Gallery

$375,000: Work by Mary Corse at Lisson

$350,000: Mary Weatherford’s Trap (2018) at David Kordansky

$350,000: A large painting by Lee Ufan at Pace

$300,000: McArthur Binon’s Transition: One (2017) at Lehmann Maupin

$261,000: Sophie Taeuber-Arp’s Triangles, Cercles, Lignes (1932) at von Bartha

$200,000: Sue Williams‘s Memory and Paint (2017) at 303 Gallery

$200,000–250,000: Ha Chong-Hyun’s Conjunction 00-1-5 (A) (2000) at Kukje Gallery/Tina Kim Gallery

$200,000: Robert Colescott’s A Winning Combination (1974) at Blum & Poe

$200,000: Ha Chong-Hyun’s Conjunction 15-172 (2015) at Blum & Poe

Henry Taylor’s OXXO–Somewhere in Mexico but close to the BORDER (2015–2018). Image courtesy of Blum & Poe.

$175,000 and Under

$175,000: Henry Taylor’s OXXO-Somewhere in Mexico but Close to the BORDER (2015/18) at Blum & Poe sold to a European museum.

$175,000: Lee Bul’s Perdu III (2018) at Lehmann Maupin

$174,000: John Armleder’s Wawa (2014) at Mehdi Chouakri

$174,000: A painting by André Butzer at Galerie Max Hetzler

$160,500: Cathy Wilkes’s Untitled work at Xavier Hufkens

$150,000: Mary Heilmann’s Green Tube Whitewater (2018) at 303 Gallery

$150,000: Michael Williams’s Untitled at David Kordansky

$150,000: Sue Williams’s Baghdad (2017) at 303 Gallery

$150,000: Hernan Bas‘s The Gardener’s Scarf at Lehmann Maupin

$150,000: Lynette Yiadom-Boakye’s Invincible (2018) at Jack Shainman Gallery

$145,000: Franz Ackermann‘s Little Sky (2016) at Galerie Templon

$125,000–220,000 each: Three works by Markus Lüpertz at Michael Werner Gallery

$120,000: Jennifer Guidi’s Hot and Bothered (Black Sand SF #1T, Yellow-Hot Pink-Orange Gradient Ground, Black) (2018) at David Kordansky

$120,000: Dorothea Tanning’s Dantedore II (1982) at Alison Jacques Gallery

$120,000: Tala Madani’s Disco Pussy (2018) at David Kordansky

$110,000: Harold Ancart’s Untitled in artist’s frame at David Kordansky

$100,000–150,000: Kon Young-Woo’s Untitled (1980’s) at Kukje Gallery/Tina Kim Gallery

$100,000 each: Three paintings by Eddie Martinez at Mitchell-Innes & Nash

$90,000–100,000: Cecilia Vicuña’s Budas en la Cordillera de los Andes (1973) at Lehmann Maupin

$90,000 each: McArthur Binion’s paintings Ink: Work: Violetta; Ink Work: Vermillion; and Ink Work: Verde (all 2018) at Lehmann Maupin

$86,000: A painting by Toby Ziegler at Galerie Max Hetzler

$80,000–90,000: Cecilia Vicuña’s Pongo la Mano al Fuego para ti (1969/1972) at Lehmann Maupin

$75,000: Tala Madani‘s Mother Figure (2018) at 303 Gallery

$70,000: Nicholas Hlobo’s Umhloli Womkhondo (2017) at Lehmann Maupin

$60,000: Ma Ke’s Two Trees (2018) at Rüdiger Schöttle Gallery

$60,000: Nina Chanel Abney’s Anytime Any Place (2018) at Jack Shainman Gallery

$45,000 each: Three versions of Sam Falls’s Untitled (Neutra House, Los Feliz, CA. 5) (2018) at 303 Gallery

$45,000: Jacob Kassay’s Untitled (2018) at 303 Gallery

$35,000: Laure Prouvost’s The Hidden Paintings Grandma Improved–Forward Thinking (2018) at Lisson Gallery

$35,000–174,000 each: All 18 paintings by Bernard Frize co-presented by Perrotin and Simon Lee Gallery

$25,000: Markus Amm’s Untitled work at David Kordansky

$24,000: Calvin Marcus’s me with tongue (2015) at David Kordansky

$20,000: Kim Gordon’s Pussy Galore (2009) at 303 Gallery

$19,000: A painting by Misheck Masamvu at Goodman Gallery

$2,600: Lewis Hammond’s Ménagerie at Antoine Levi, Paris


A work by Carol Bove presented by David Zwirner. © Art Basel, 2018.

$4.75 million: Louise Bourgeois‘s The Three Graces (1947) at Hauser & Wirth

$2.8 million: Carl Andre‘s 100 Copper Squares (1968) at Mnuchin Gallery

$1.5 million: Paul McCarthy‘s CSSC Luncheon on the Grass (2015-18) at Xavier Hufkens

$1.5 million: A work by Carol Bove at David Zwirner

$1.5 million: Robert Longo‘s Death Star II (2018) sculpture from the Unlimited section, at Galerie Thaddaeus Ropac

$1 million: Robert Rauschenberg’s Plosion (Borealis) (1990) at Galerie Thaddaeus Ropac

$1 million: Sol LeWitt‘s 12x12x1 TO 2x2x6 (1990) at Paula Cooper Gallery

$1 million: Ai Weiwei’s Iron Tree Trunk (2015) at Galerie Neugerriemschneider, Berlin

In excess of $1 million: Bruce Nauman’s Leaping Foxes (2018) sculptural work was purchased by the Emanuel Hoffmann Foundation via Sperone Westwater

$950,000: Alina Szapocznikow’s Lampe (c. 1967) at Hauser & Wirth

$600,000: Alina Szapocznikow’s Auto portrait at Hauser & Wirth

$550,000: Yoshitomo Nara‘s OTAFUKU No.0 (Moon-faced Woman No.0) (2007) at Blum & Poe

$475,000: Fred Sandback’s Untitled (Sculptural Study, Seven-part Triangular Construction) (1982/2011) presented in Unlimited by David Zwirner Gallery

$450,000: Francis Alÿs’s video work, Tornado (2000–2010) at David Zwirner Gallery

$350,000: A sculpture by Max Ernst at Mitchell-Innes & Nash Gallery

$350,000: Doug Aitken‘s Future (2017) at 303 Gallery

$327,300: Ai Weiwei’s Coca Cola Vase (2012) at Lisson Gallery

$325,000: Rosemarie Trockel’s Culture Dish (2012) at Sprüth Magers

$300,000: Teresita Fernández’s Untitled (Fence) 2018, bought by a member of the Phoenix Museum’s board, who has promised the piece to the museum, at Lehmann Maupin.

$320,000–380,000: Ghada Amer’s The Blue Bra Girls (2012) at Kukje Gallery/Tina Kim Gallery

$289,600 each: Two of Jeppe Hein’s Your Way (2017) sculptures at 303 Gallery

$201,000: Imi Knoebel‘s Schnitt, 10.03.2017 (2017) at von Bartha

$289,600: Thomas Schütte’s Mann im Matsch mit Fahne (2008/2017) at Peter Freeman, Inc.

$255,500: Lara Favaretto’s Birdman or (The Unexpected Virtue of Ignorance), 2018, at Galleria Franco Noero

$195,000: Sterling Ruby’s ACTS/ALPHA BLOCKER (2018) at Sprüth Magers

$180,000 each: Two sculptures by Yinka Shonibare MBE at Goodman Gallery

$180,000: Donald Moffat’s Lot 052018 (Cerulean) (2018) at Marianne Boesky Gallery

$175,000: Rirkrit Tiravanija’s untitled (freiheit kann man nicht simulieren) (2012) at Galerie Neugerriemschneider, reportedly purchased by the German government

$175,000: Pipilotti Rist’s Your Eye Fluid video installation at Hauser & Wirth

$174,000: Maria Bartuszová’s plaster and string work at Alison Jacques Gallery

$150,000: Huma Bhabha’s cork sculpture at Salon 94

$150,000: Rashid Johnson‘s Untitled (Broken Men) (2018), made of ceramic tiles, at David Kordansky

$150,000: Alighiero Boetti’s Trail of Thoughts at Kukje Gallery/Tina Kim Gallery

$140,500: Imi Knoebel’s Elemente A.1 (2017) at von Bartha

$130,000: Sérgio de Camargo’s sculpture at Bergamin & Gomide Gallery

$128,000: Adolf Luther’s Hohlspiegelobjekt (1990) at von Bartha

$116,000: Raymond Hains’s Untitled bronze sculpture at Galerie Max Hetzler

$104,000: Mária Bartuszová’s Untitled aluminum work at Alison Jacques Gallery

$100,000: Pope.L’s Alcohol Shelf (Archive Version) (2001-09) at Mitchell-Innes & Nash

$95,000–300,000 each: Six sculptures by William Kentridge at Goodman Gallery

$95,000: Kathryn Andrews’s stainless-steel work Yellow Pop (2018) at David Kordansky

$85,000: Hannah Wilke’s four painted ceramics at Alison Jacques Gallery

$75,000–115,000: Kyungah Ham’s installation Chandeliers for Five Cities (2016)at Kukje Gallery/ Tina Kim Gallery

$75,0000: Jac Leirner’s Corpus Delicti (United) (1985–2018) at Galleria Franco Noero, Turin

$75,300: Alicja Kwade’s StillStand (Sterne rauchend) (2018) at 303 Gallery

$70,000: Walid Raad’s Letters to the Reader_015 (2017) at Sfeir-Semler Gallery

$60,000: Arlene Shechet’s No Doubt walnut-and-ceramic sculpture

$52,000–58,000: Haegue Yang’s Sol LeWitt Upside Down (2015) at Kukje Gallery

$50,000 each: Three pieces by Edmund de Waal at Galerie Max Hetzler

$48,000: Ricky Swallow’s mixed-media work Zig #5 (2018) at David Kordansky

In the range of $40,900–93,500 each: Three works by Italian artist Paolo Icaro at P420 Gallery

$48,700: Alicja Kwade’s Idol (300°) (2017) at 303 Gallery

$37,000: Alicja Kwade’s Be-Hide (2016) at 303 Gallery

$35,000: Ruby Neri’s figurative ceramic work Woman in a Landscape (2018) at David Kordansky

$35,000 each: Two video works by Hiwa K from Pre-Image (Blind as the Mother Tongue) (2017) at KOW, Berlin

$35,000: A mirror work by Monica Bonvicini at Mitchell-Innes & Nash

$32,500: Mario Garcia Torres’s Who Said I Was All Nostalgia and No Fun? At Galleria Franco Noero

$25,000: Ximena Garrido-Lecca’s Red Atarraya from the series “Aleaciones con memoria de forma” at Galerie Gisela Capitain

$25,000: Jacolby Satterwhite’s Entertainment Center (2018) at Morán Morán, Los Angeles

$20,000: A sculpture by Sarah Braman at Mitchell-Innes & Nash

$15,000–30,000 each: Three works by Michael E. Smith, including Untitled (2018), at KOW, Berlin

$8,000–28,000 each: 12 ceramic works by Takuro Kuwata at Salon 94


Eduardo Paolozzi’s Untitled (1948). Image courtesy of Hazlitt Holland-Hibbert.

$2 million: Richard Prince‘s Untitled (Cowboy) (2001) at Almine Rech Gallery

$1.04 million: Andreas Gursky‘s El Ejido (2017) at Sprüth Magers

In excess of $1 million: Bruce Nauman’s video work Contrapposto Split (2017) at Sperone Westwater

$651,000: Zao Wou-Ki‘s Untitled (2007) watercolor at galerie kamel mennour, Paris

$504,000: Eduardo Paolozzi‘s Untitled mixed-media collage at Hazlitt Holland-Hibbert, London

$375,000: Barbara Kruger’s Untitled (I WIN YOU LOSE) (2017) at Sprüth Magers

$220,000–280,000: Louise Bourgeois’s Les Arbres (2004), a portfolio of eight drypoint prints, at Kukje Gallery/Tina Kim Gallery

$179,000: Rodney Graham’s photograph Dead Flowers in My Studio 3 (2017) at Galerie Rüdiger Schöttle

$174,000: Adrian Ghenie‘s Untitled (2017) at Galerie Thaddaeus Ropac

$166,000: Shirazeh Houshiary’s Portal (2018) at Lisson Gallery

$150,000–200,000 each: Several drawings by Sol LeWitt at Paula Cooper Gallery

$135,000: Adam Pendleton’s The The The/What is The (2018) silkscreen, at Galerie Max Hetzler

$125,000: Kara Walker‘s Another Ancestor (2010) at Sprüth Magers

$119,000: Eduardo Paolozzi’s mixed-media collage at Hazlitt Holland-Hibbert, London

$116,000: Thomas Ruff‘s r.phg.13_1 (2015) at Rüdiger Schöttle Gallery

$110,000: Marcel Odenbach’s Nobody answered (2017/8) at Galerie Gisela Capitain

$100,000: Louise Bourgeois’s drawing Maman at Xavier Hufkens

$95,000: Hannah Wilke’s Untitled pastel-and-paint work at Alison Jacques Gallery

$90,000: Mira Schendel’s Untitled gouache and watercolor on paper, at Bergamin & Gomide

$70,000: A photography work by Shirin Neshat at Goodman Gallery

$65,000 each: All works at the stand by Lenore Tawney at Alison Jacques Gallery

$65,000–76,000 each: Five works by Francis Picabia at Galerie 1900–2000

$50,000: Zoe Leonard’s Untitled (1987/2017) at Galerie Gisela Capitain

$50,000: Helen Chadwick’s Wreath to Pleasure (1992–1993) at Richard Saltoun Gallery

$45,000: Tony Lewis’s Transition (2017) at Blum & Poe

$41,000–46,000 each: Four aquarelles on paper by Marwan at Sfeir-Semler Gallery

$32,000: Barbara Kasten’s Composition 8 T (2018) at Galerie Kadel Willborn, Dusseldorf

$30,000–50,000: Alex Prager‘s Deborah (2009) at Lehmann Maupin; Prager’s mid-career retrospective is on now at the Photographer’s Gallery.

$36,000 each: Two of Mira Schendel’s untitled works on cardboard at Bergamin & Gomide

$32,000: Mimi Lauter’s Untitled (Devotional Flower Landscape) (2018) at Blum & Poe

$28,000: Torbjørn Rødland’s Poolside (2017) at David Kordansky

$20,000 each: Two prints from Samson Kambalu’s “Mboya Series” (2016) at Kate MacGarry, London

$17,000: Christine Sun Kim’s Self Listening (2018) at White Space Beijing

$14,000: Torbjørn Rødland’s Pink Pipe (2018) at David Kordansky

$12,000 each: Five works from Candice Breitz’s Hollywood Kids 349-N

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