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<\/p>\nInstallation view of Marian Goodman Gallery\u2019s booth at Art Basel Paris 2025. Photo by Rebecca Fanuele. Courtesy of Marian Goodman Gallery. <\/p>\n
When is an art fair VIP day not an art fair VIP day? When it\u2019s an \u201cAvant Premi\u00e8re,\u201d according to Art Basel. On Tuesday, October 21st, Art Basel Paris 2025<\/a> opened its doors a day before its standard VIP \u201cFirst Choice\u201d day slot, welcoming the most select invitees to the Grand Palais. <\/p>\n According to outgoing fair director Cl\u00e9ment Del\u00e9pine, the decision came after feedback from galleries about \u201ctoo many people\u201d on the \u201cFirst Choice\u201d day. \u201cI understand that\u2019s a good problem to have when you run an art fair, but the galleries were like, \u2018we can\u2019t talk to everyone at the same time,\u2019\u201d Del\u00e9pine told Artsy in an interview. \u201cWe wanted to offer them an opportunity to invite their most important clients and take time to have conversations.\u201d <\/p>\n The move was announced just weeks before the fair opened, sending the art world rumor mill into overdrive about what the day would look like. Would the event be the opposite of the traditional Art Basel VIP day scrum? And how much of that ever-elusive buzz would there be? <\/p>\n The answer to these questions, it turns out, is that the Tuesday slot felt very much like the Wednesday slot: a bustling, busy, and yes, buzzy affair. While it took a little longer for the cavernous Grand Palais to feel busy, it had gotten there by the afternoon. Usually, some Art Basel booths are too congested to browse\u2014this time, that was certainly rarer. <\/p>\n Also noticeable was serious dealmaking. Several advisors, dealers, and collectors Artsy spoke to on the ground said that the intensity of transactions and discussions had been taken up a few notches compared to years past. \u201cAn incredible start in Paris today,\u201d Brussels dealer Xavier Hufkens<\/a> reported to Artsy. \u201cA stellar beginning\u2014and a promising sign of what\u2019s ahead.\u201d This was backed up as sales began to flow in, led by a hefty $23 million Gerhard Richter<\/a> painting at Hauser & Wirth<\/a>\u2019s booth. <\/p>\n Comparisons with Basel\u2019s flagship June fair in Basel have been a major focus in the run-up to this Paris fair: The Richter transaction is well in excess of the top reported sale<\/a> from Basel earlier this year, and it certainly felt as though there was an increased proportion of international collectors compared to the June fair.<\/p>\n This year\u2019s edition of Art Basel Paris features some 206 galleries from 41 countries, with 25 newcomers among them. Galleries in the main section of the fair flexed the depth and breadth of their rosters, predominately with group presentations ranging from 20th-century masterworks through to leading ultra-contemporary names. Other sections at the fair are Emergence, which spotlights emerging galleries and artists, and Premise, which features singular curatorial proposals. <\/p>\n The fair, which opened at 3 p.m., veered into a celebratory spirit after just a couple of hours, when buckets of champagne on ice could be seen on the booth desks and in the aisles. From the reported transactions rolling through from galleries, it was little surprise that many were in the mood to toast. <\/p>\n Here, we round up the 10 best booths from Art Basel Paris 2025. <\/p>\n Booth B33Peter Paul Rubens, John Currin, Jad\u00e9 Fadojutimi, Alberto Giacometti, Pablo Picasso, Auguste Rodin, Jenny Saville, Georg Baselitz, Fadojutimi, Ellen Gallagher, Mark Grotjahn, Simon Hanta\u00ef, Brice Marden, Sterling Ruby, Cy Twombly, Christo, Robert Ryman, Richard Serra, Rachel Whiteread, and Christopher Wool Helen Frankenthaler, Untitled, 1996. \u00a9 2025 Helen Frankenthaler Foundation, Inc.\/Artists Rights Society (ARS), New York. Photo by Maris Hutchinson. Courtesy of Gagosian.<\/p>\n It\u2019s no surprise to report that Gagosian<\/a>\u2019s booth was one of the most popular during the fair\u2019s opening hours. But what was perhaps less expected was the bold choice of artworks from different eras in the mega-gallery\u2019s presentation. Anchoring this was the fair\u2019s most talked-about artwork: Peter Paul Rubens<\/a>\u2019s The Virgin and Christ Child, with Saints Elizabeth and John the Baptist (c. 1611\u201314). It\u2019s a huge departure for a gallery known for its contemporary program.<\/p>\n The recently discovered painting, which was last sold at a Sotheby\u2019s auction in 2020 for $7 million, rewrote Art Basel Paris\u2019s rulebook. The fair usually only allows works from the 20th century onwards, so Gagosian was granted a rare exemption. The painting reflects the artist\u2019s early engagement with devotional imagery and hints at the grandeur of his later Marie de\u2019 Medici cycle at the Louvre<\/a>. <\/p>\n Its tightly composed scene, glowing with Rubens\u2019s signature vitality, made an interesting counterpoint to the modern and contemporary works surrounding it. Highlights included John Currin<\/a>\u2019s Supermoon (2025), a caustic yet lyrical riff on Raphael<\/a>\u2019s Three Graces (1503\u20135); Auguste Rodin<\/a>\u2019s bronze Le Baiser (The Kiss) (ca. 1905\u201310), an embodiment of erotic intensity in motion; and Pablo Picasso<\/a>\u2019s Nu accoud\u00e9 (1961), a playful deconstruction of form inspired by African sculpture. Nearby, Alexander Calder<\/a>\u2019s Red Shapes and Yellow Wires (1975) floats in delicate balance, a classic example of the artist\u2019s mobile sculptures. <\/p>\n Booth G12With works by Lea Lublin and Esther Ferrer Installation view of 1 Mira Madrid \/ 2 Mira Archiv\u2019s booth at Art Basel Paris. Courtesy of 1 Mira Madrid \/ 2 Mira Archiv.<\/p>\n Recently, Spanish gallery 1 Mira Madrid<\/a> launched a new project working with artists on their archives. Here, the gallery shares a space with that new project, entitled 2 Mira Archiv, in perhaps the most formally interesting presentation at the fair. The result is a booth of both contemporary works and archival materials that interrogates how these two artistic areas reflect one another.<\/p>\n Central to the presentation is the complete archive of pioneering Polish artist Lea\u202fLublin<\/a> (1929\u201399), whose performance and conceptual works challenged notions of the body, drawing on feminism and semiotics. Hung haphazardly and placed on shelves on the back wall of the booth are papers, photographs, folders, and ephemera from the artist\u2019s personal materials, assembled like a compendium of biographical information. <\/p>\n \u201cWe organize the archive; we pick everything; we put it in quarantine, and then we start to digitize, put everything in the right place, take the correct pictures,\u201d explained a gallery staffer, who, along with her team, was dressed in a stylish black coat and cap bearing the gallery\u2019s logo. The complete contents of the archive are priced at \u20ac600,000 ($696,047).<\/p>\n Accompanying this presentation are recent geometric abstract paintings by Spanish artist Esther Ferrer<\/a>, a similarly pioneering figure in the minimalist, performance, and conceptual movements of the early 1970s. <\/p>\n Booth C21With works by Ali Banisadr, Jules de Balincourt Miquel Barcel\u00f3, Alvaro Barrington, Georg Baselitz, Oliver Beer, Joseph Beuys, Constantin Brancusi, Alberto Burri, Jordan Casteel, Tony Cragg, Lucio Fontana, Adrian Ghenie, Antony Gormley, Simon Hanta\u00ef, Hans Josephsohn Donald Judd, Martha Jungwirth, Alex Katz, Imi Knoebel, Wolfgang Laib, Lee Kang-So, Robert Longo, Liza Lou, Irving Penn, Elizabeth Peyton, Robert Rauschenberg, Daniel Richter, Tom Sachs, David Salle, Oskar Schlemmer, Raqib Shaw, Joan Snyder, Pierre Soulages Sturtevant, Emilio Vedova, Andy Warhol, Erwin Wurm, Yan Pei-Ming, and Zadie Xa Installation view of Thaddaeus Ropac\u2019s booth at Art Basel Paris 2025. Photo by Pierre Tanguy. Courtesy of Thaddaeus Ropac.<\/p>\n For powerhouse gallery Thaddaeus Ropac<\/a>, the timing of this year\u2019s Art Basel Paris couldn\u2019t have been better. The booth\u2019s standout work, the transfer-on-glaze work Able Was I Ere I Saw Elba (1983) by Robert Rauschenberg<\/a>, is featured 100 years after the artist\u2019s birth (his birthday is on October 22nd). \u201cWe always kept it waiting for the right moment to bring it up,\u201d senior director Jos\u00e9 Casta\u00f1al told Artsy. \u201cNow is the right moment.\u201d <\/p>\n Indeed, even without the additional context, the work was proving to be quite the attention-grabber. The work reprints Jacques-Louis David<\/a>\u2019s famed painting Napoleon Crossing the Alps (1800\u201301) of the infamous general atop a horse, layering it with painterly gestures and Rauschenberg\u2019s own photographs of urban scenes and architectural fragments. Its title is a palindrome, a quote famously misattributed to Napoleon referring to his exile on the island of Elba. <\/p>\n Elsewhere, the gallery\u2019s jam-packed booth contains highlights in every corner, from Elizabeth Peyton<\/a>\u2019s famed depictions of British Princes Harry and William, to Alberto Burri<\/a>\u2019s Sacco e oro (1953), a fabric work that combines raw burlap and shimmering gold leaf in a single charged surface. That work sold for \u20ac4.2 million ($4.87 million) on the fair\u2019s opening day, capping a strong day of sales for the dealer. <\/p>\n Booth H16With works by Fran\u00e7oise P\u00e9trovitch, Laurent Proux, Stefan Rinck, Moffat Takadiwa, and Xie Lei Installation view of Semiose\u2019s booth at Art Basel Paris 2025. \u00a9 Graysc. Courtesy Semiose, Paris.<\/p>\n Parisian gallery Semiose<\/a> presents a thoughtfully put-together booth of artists on its roster. An immediate eye-catcher is a wall of luminous new paintings by Chinese artist Xie Lei<\/a> depicting ambiguous scenes of intertwined figures.<\/p>\n In Fabula 1 (2025), for instance, two people bathed in electric blue lean toward each other in an intimate gesture, their faces illuminated by an otherworldly light. Through his fluid brushwork and glowing palette, Lei\u2019s paintings transform the act of connection into tender, dissolving images. The artist, who also shows internationally with Sies + Hoke<\/a> and HdM Gallery<\/a>, has also had a solo exhibition at the Fondation Louis Vuitton<\/a>.<\/p>\n \u201cYou never know exactly what\u2019s happening in his scenes,\u201d said Fr\u00e9d\u00e9rique Buttin Valentin, the gallery’s director. \u201cThere are no exact genders, and it\u2019s really another world.\u201d<\/p>\n Also of note in the gallery\u2019s booth are new figurative bronze sculptures by Fran\u00e7oise P\u00e9trovitch<\/a>. Here, the French artist, best known for her painting, presents forms of solitary young women, often with closed eyes or obscured faces caught in everyday actions such as sitting or dog walking. These small, enigmatic works also contain creepy, fairytale motifs, such as large bones and ogresses.<\/p>\n Booth M46With works by Mira Mann Installation view of DREI\u2019s booth at Art Basel Paris 2025. Courtesy of DREI.<\/p>\n At first glance, the booth of Cologne tastemaker DREI<\/a> seems to take us backstage into a dressing room featuring a mirror populated with ephemera. <\/p>\n Presented in the Emergence sector, dedicated to emerging artists and galleries, the panoramic installation is in fact Mira Mann<\/a>\u2019s objects of the wind (2024), a densely and intricately arranged setting in which drums, books, and photography tell a layered story. The work pays tribute to the Korean contract nurses who migrated to West Germany between 1966 and 1973. By showcasing significant objects in their narrative, the artist reinterprets their collective practice of pungmul\u2014a tradition of drumming, dancing, and singing\u2014as an act of care, protest, and belonging.<\/p>\n 5<\/p>\n View Slideshow<\/p>\n Rooted in archival research and conversations with former nurses, Mann\u2019s installation traces the women\u2019s stories alongside Korean folktales such as Barigongju (Princess Bari) and Shim Cheong, connecting mythic journeys of devotion to the realities of migration and labor. The sound of drumming, played through boomboxes, emerges as both a gesture of solidarity and a form of sonic resistance, countering the stereotype of quiet, compliant workers.<\/p>\n \u201cThey are known for these kinds of dressing room mirrors,\u201d said Drei director Dennis W. Hochk\u00f6ppeler, referring to the artist\u2019s work. \u201cThis work is the largest of its kind.\u201d <\/p>\n objects of the wind (2024) was originally featured in the 2024 Gwangju Biennale<\/a>, and is priced here at \u20ac65,000 ($75,405).<\/p>\n Booth A46With works by Tetsumi Kudo, C\u00e9sar, Eric Baudart, Anita Molinero, H\u00e9l\u00e8ne Delprat, Julien Des Monstiers, Richard Nonas, Zoran Music, and Simon Hanta\u00ef. Installation view of Galerie Christophe Gaillard\u2019s booth at Art Basel Paris 2025. Courtesy of Galerie Christophe Gaillard.<\/p>\n Parisian stalwart Galerie Christophe Gaillard<\/a>\u2019s focused presentation showcases both milestones of post-war art and contemporary experimentation, bringing together artists central to the gallery\u2019s program.<\/p>\n An immediate standout is Simon Hanta\u00ef<\/a>\u2019s Tabula (1975), which foregrounds the artist\u2019s famed folded-canvas method which has had an enduring impact on European abstraction. Further highlights include a selection of works by French sculptor C\u00e9sar<\/a>, who radically transforms vehicles and junk materials. In Compression (1978), for instance, the artist folds and flattens pipes, bumpers, and other moped parts into a cube that resembles an abstract collage of crumpled planes and bright factory paints. <\/p>\n 8<\/p>\n View Slideshow<\/p>\n Also of note is a group of recent paintings by H\u00e9l\u00e8ne Delprat<\/a>, who recently closed a solo survey at Fondation Maeght<\/a>. A particular highlight is the diptych TODAY XXV (2025), where she combines two visual vocabularies that recur throughout her practice\u2014chaotic figuration and strict geometric order. On the left, a grotesque, animated figure seems caught, like a volcano, mid-eruption. The right panel, in contrast, presents a rigid grid of red and black, a disciplined counterpoint to the emotional turbulence beside it.<\/p>\n Booth C18Misheck Masamvu, Clive van den Berg, William Kentridge, Sue Williamson, David Goldblatt, Ghada Amer, Zineb Sedira, Leonardo Drew, Pamela Phatsimo Sunstrum, Kapwani Kiwanga, Mikhael Subotzky, Atta Kwami, Yinka Shonibare, and El Anatsui. Installation view of Goodman Gallery\u2019s booth at Art Basel Paris 2025. Courtesy of Goodman Gallery<\/p>\n Goodman Gallery<\/a> is renowned for its specialty in artists from Africa and its diaspora, and here, it showcases its leading artists to the nines.<\/p>\n Central to its presentation are El Anatsui<\/a>\u2019s sculptural installation Eto (2025), composed of bottle tops and metallic fragments, and Pamela Phatsimo Sunstrum<\/a>\u2019s pencil-on-wood panel work Scene 19 (2024). The latter, hung on the exterior of the booth, reflects the artist\u2019s ongoing exploration of memory and selfhood through a scene of a woman standing in a natural landscape, stretching a translucent sheet between two poles. <\/p>\n 6<\/p>\n View Slideshow<\/p>\n The booth also features a group of works by William Kentridge<\/a>, including the sculpture Fat Cat<\/a> (2025), a bronze of a literal fat cat with a simplified, geometric face standing proudly atop a wooden box\u2014a political statement made with the artist\u2019s signature wit. Additional highlights include paintings by Ghanaian modernist Atta Kwami<\/a>, such as Untitled (Red, White, Blue, Black) (2008), a vibrant composition of intersecting planes and rhythmic color.<\/p>\n \u201cThe quality of attendees at Art Basel Paris is unparalleled,\u201d owner and director Liza Essers noted of the opening day. \u201cThe fair continues to provide a platform for Goodman Gallery to bring important international artists to a truly global stage, and today has been incredibly effective for serious conversations. Kudos to the Art Basel team for facilitating a space and time to enable important exchange with major collectors.\u201d<\/p>\n Booth: C39With works by Kim Yun Shin, Jae-Eun Choil, Haegue Yang, Jina Park, Robert Mapplethorpe, Jean-Michel Othoniel, Daniel Boyd, Gala Porras-Kim, Korakrit Arunanondchai, and Elmgreen & Dragset Installation view of Kukje Gallery\u2019s booth at Art Basel Paris 2025. Photo by Sebastiano Pellion di Persano. Courtesy of Kukje Gallery.<\/p>\n Heavyweight gallery Kukje<\/a> is known for platforming some of Korea\u2019s most well-known and exciting artists, but this booth is a reminder of its international scope. <\/p>\n \u201cSince the inaugural edition of the fair, Kukje Gallery has been the sole Korean gallery to participate in Art Basel Paris,\u201d a gallery spokesperson told Artsy (though several international galleries with Korean outposts are in attendance). \u201cThrough these diverse perspectives, Kukje Gallery aims to reaffirm its role as a vital bridge within the international contemporary art landscape.\u201d<\/p>\n 5<\/p>\n View Slideshow<\/p>\n At the center of the presentation is Song of My Soul 2006\u2013145 (2006) by Kim Yun Shin<\/a>, a pioneer in modern Korean sculpture who was overlooked<\/a> until recently. Kim, in this painting, uses bold color and texture to express vitality and spiritual unity, in line with her characteristic awe for nature. Jae-Eun Choi<\/a>\u2019s When We First Met (2024), meanwhile, reflects on cycles of life and order in the universe through a composition of pressed wildflowers collected near her Kyoto studio. <\/p>\n Also featured in the booth is Haegue Yang<\/a>\u2019s mixed-media wall piece Wired Feelers and Dichoptic Viewing \u2013 Trustworthy #370 (2018), which reconfigures the patterned linings of security envelopes into intricate collages. <\/p>\n Elsewhere, the booth shows works by international artists such as Elmgreen & Dragset<\/a>, Korakrit Arunanondchai<\/a>, and Robert Mapplethorpe<\/a>. <\/p>\n Booth C15Woth works by Alma Allen, La\u00eds Amaral, Lucas Arruda, Patricia Ayres, Alvaro Barrington, Ne\u00efl Beloufa, Paloma Bosqu\u00ea, Heidi Bucher, Varda Caivano, Guglielmo Castelli, Adriano Costa, Julien Creuzet, Bendt Eyckermans, Sonia Gomes, Eunnam Hong, Leah Ke Yi Zheng, Sanam Khatibi, Vojt\u011bch Kova\u0159\u00edk, Mimi Lauter, Patricia Leite, Amadeo Luciano Lorenzato, Matthew Lutz-Kinoy, Daniel Steegmann Mangran\u00e9, Paulo Monteiro, Paulo Nazareth, Paulo Nimer Pjota, Antonio Ob\u00e1, Precious Okoyomon, Lygia Pape, Rosana Paulino, Marina Perez Sim\u00e3o, Solange Pessoa, Giangiacomo Rossetti, Maaike Schoorel, Paula Siebra, Marcos Siqueira, Kishio Suga, and Pol Taburet. Installation view of Mendes Wood DM\u2019s booth at Art Basel Paris 2025. Courtesy of Mendes Wood DM. <\/p>\n Most galleries at large art fairs opt for group-led presentations, but few do them as well as Mendes Wood DM<\/a>. The S\u00e3o Paulo\u2013founded gallery put forth a mix of Brazilian and global voices, emphasizing conceptual rigor, material invention, and critical dialogue. The booth underscores the gallery\u2019s founding principles<\/a>: art as a platform for radical thought and cross-cultural exchange. <\/p>\n The gallery\u2019s presentation ranges from handmade, intimate pieces to bold and monumental works. Highlights include works by artists such as Sonia Gomes<\/a>\u2014whose textile-based sculptures reclaim the expressive potential of humble craft materials\u2014and Julien\u202fCreuzet<\/a>, whose hanging green and purple sculpture, composed of fibrous intertwined fabrics, forms a loose, elongated structure that resembles a cascading cluster of leaves. <\/p>\n At the center of the booth is another standout: Paulo Nimer Pjota<\/a>\u2019s large painting Jorge e Pai (2025). Rendered almost entirely in shades of blue, the work centers on a seated, nude female figure holding a child, a contemporary echo of the traditional Madonna and child motif. The figures here are outlined and textured with fine dotted and stippled marks, giving the impression of embroidery.<\/p>\n Also giving passersby cause to stop on the fair\u2019s opening day were an assortment of suspended soft sculptures made from plush toys, fabric, and organic materials by Precious Okoyomon<\/a>, who currently has a solo show at the gallery\u2019s Paris space. \u201cThey are made with teddy bears that she collects, sources, and taxidermied wings on,\u201d explained associate director Luiz Guilherme Rodriguez. Hanging delicately, these hybrid sculpted creatures blur the line between tenderness and violence.<\/p>\n Booth B25With works by Marcel Broodthaers, Giuseppe Penone, Anri Sala, Nairy Baghramian, Thomas Struth, Tacita Dean, Julie Mehretu, \u00c1LVARO URBANO, and Steve McQueen. Installation view of Marian Goodman Gallery\u2019s booth at Art Basel Paris 2025. Photo by Rebecca Fanuele. Courtesy of Marian Goodman Gallery. <\/p>\n Marian Goodman Gallery<\/a>\u2019s presentation is the kind of art fair booth that reminds visitors how impressive Art Basel\u2019s galleries are. The refined selection of paintings, sculptures, works on paper, and installations on view reaffirms the gallery\u2019s decades-long engagement with international and institution-shaping practices.<\/p>\n \u201cThis marks the 30th anniversary of the gallery in Paris, and we are delighted to present works by artists such as Marcel Broodthaers<\/a>, Giuseppe Penone<\/a>, Anri Sala<\/a>, Nairy Baghramian<\/a>, Thomas Struth<\/a>, Tacita Dean<\/a>, and Julie Mehretu<\/a>, who have been central to the gallery program,\u201d managing partner Junette Teng told Artsy. <\/p>\n 5<\/p>\n View Slideshow<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/il\/wp-content\/uploads\/2025\/10\/1761159625_157_d7hftxdivxxvm.cloudfront.net\")
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<\/p>\n