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<\/p>\nInstallation view of Eric Firestone Gallery\u2019s booth at Art Basel Miami 2025. Courtesy of Eric Firestone Gallery.<\/p>\n
Art Basel Miami Beach<\/a> returned for its 23rd edition on December 3rd, when its VIP day got underway at the Miami Beach Convention Center. Featuring some 283 galleries from 43 countries, this year\u2019s fair remains the main event of the U.S. art world\u2019s most chaotic week of the year.<\/p>\n Beyond the convention center walls, Miami\u2019s art scene is in full throttle<\/a>. Nearly 20 satellite fairs are taking place across the city this week, ranging from the emerging art\u2013focused NADA<\/a> to the expansive<\/a> Untitled Art<\/a>. Local spaces are also fueling the excitement. Tastemaking gallery Spinello Projects<\/a> packed in crowds for a celebration of its 20-year anniversary<\/a>, and the ICA Miami<\/a> opened a slate of new exhibitions, including solo shows for Joyce Pensato<\/a> and Richard Hunt<\/a>.<\/p>\n As the largest art fair in the Western Hemisphere, sales at Art Basel Miami Beach are always closely watched, and the fair is widely viewed as something of a bellwether week for the art market. Events leading up to this year\u2019s fair have offered a tentatively positive picture following last month\u2019s New York auctions<\/a>, where more than $2 billion of art was sold. <\/p>\n Kennedy Yanko, installation view presented by Library Street Collective at Art Basel Miami Beach Meridians 2025. Courtesy of Art Basel. <\/p>\n The fair\u2019s director, Bridget Finn, shared an upbeat outlook for the fair and the Miami art scene. \u201cIt\u2019s so alive [in Miami], and it\u2019s full of energy,\u201d Finn said, pointing out the fair\u2019s ability to connect the art world with adjacent cultural industries. \u201cWhat\u2019s kind of unique about the Miami Beach show is that the contemporary and modern art conversation leads the way, but it also provides such rich entry points for music, fashion, film, all of these other creatives,\u201d Finn said. \u201cIt\u2019s such a unique moment in terms of the American cultural calendar.\u201d And while 14 galleries withdrew from the fair in its lead-up, Finn also noted that 17 galleries are returning to the Miami Beach Convention Center following a hiatus. <\/p>\n Indeed, early sales appeared to add ballast to Finn\u2019s optimism, with a flurry of seven-figure transactions reported by galleries. Leading the sales was a $5.5 million abstract Gerhard Richter<\/a> painting at David Zwirner<\/a>\u2019s booth. Read Artsy\u2019s day-one sales report here,<\/a> and check back on Monday for our full sales report. <\/p>\n Here, we present the 10 best booths from Art Basel Miami Beach 2025.<\/p>\n With works by Frida Kahlo, Leonora Carrington, Leonor Fini, Esteban Franc\u00e9s, Max Ernst, Yves Tanguy, Kay Sage, and Maria Kreyn.Booth J2 Installation view of Weinstein Gallery\u2019s booth at Art Basel Miami Beach 2025. Courtesy of Weinstein Ga<\/p>\n Frida Kahlo<\/a>\u2019s Autorretrato en Miniatura (ca. 1938), the only miniature self-portrait the artist created, is the quiet star of Weinstein Gallery<\/a>\u2019s booth. Priced at $15 million, the tiny work was painted for the poet Jos\u00e9 Bartoli, who kept it in his possession for half a century, and today it comes from the personal collection of gallery founder Rowland Weinstein. The timing for its appearance is also apt, with Kahlo becoming the most expensive woman artist at auction<\/a> during last month\u2019s New York sales. <\/p>\n 12<\/p>\n View Slideshow<\/p>\n \u201cMy whole career has been about promoting who I thought were the great unsung women artists and particularly the Surrealists<\/a>,\u201d Weinstein told Artsy. Indeed, the entire presentation at the Californian gallery\u2019s booth draws from the gallerist\u2019s personal collection. Another standout, Leonora Carrington<\/a>\u2019s painting Sue\u00f1o (Nephesh as the Soul in a State of Sleep) (1959), depicts a mystical procession featuring mythological animals and divine ghostly figures. <\/p>\n The booth also features the first living artist the gallerist has shown in two decades: American painter Maria Kreyn<\/a>, who creates fantastical, stormy landscapes. Kreyn\u2019s four works are priced at $30,000 apiece.<\/p>\n With works by Frank Walter, David Austen, Hayley Barker, Robert Coutelas, Andrew Cranston, Nick Goss, Mia Kokkoni, Aubrey Levinthal, John Joseph Mitchell, Christopher Colm Morrin, Craig Murray-Orr, Catherine Ross, Ellen Siebers, and Joel Tomlin.Booth G19 Installation view of Ingleby Gallery\u2019s booth at Art Basel Miami Beach 2025. Courtesy of Ingleby Gallery.<\/p>\n Edinburgh\u2019s Ingleby Gallery <\/a>is honoring the centenary of the late Antiguian painter Frank Walter<\/a> with a presentation that situates his work alongside 13 contemporary artists who have expressed admiration for Walter\u2019s work. \u201cThe kind of exhibition he never got to take part in during his life, but which we hope he might have enjoyed,\u201d as the gallery\u2019s associate director Molly Ingleby put it to Artsy. <\/p>\n 30<\/p>\n View Slideshow<\/p>\n Four small paintings by Walter line the outer walls of the booth, among them the intimate still lifes Untitled (Mango)<\/a> and Untitled (Sea Grape) (both n.d.), each set within custom circular frames that echo their compact scale. Alongside works like Black Swans with Sunburst<\/a> (n.d.)\u2014depicting three swans gliding across a pond as sunlight breaks through the clouds\u2014they capture the flora and fauna of his surroundings with unpretentious clarity. <\/p>\n The latter work is paired with similarly compact pieces, including John Joseph Mitchell<\/a>\u2019s A Bowl of Oranges<\/a> (2025). The American artist\u2019s painting focuses on a bowl of oranges and birds floating outside the kitchen window, an intimate view that resonates with Walter\u2019s own reverence for the world. Works in the booth range from \u00a33,500 ($4,660) to $120,000 apiece. <\/p>\n With works by Masami TeraokaBooth S2 Installation view of Catharine Clark Gallery\u2019s booth at Art Basel Miami Beach 2025. Courtesy of Catherine Clark Gallery.<\/p>\n For its debut appearance at Art Basel Miami Beach, Catharine Clark Gallery<\/a> spotlights 89-year-old Japanese American artist Masami Teraoka<\/a> with a presentation entitled \u201cWaves and Plagues,\u201d a reimaging of its major survey exhibition of the artist in 2023. <\/p>\n Part of this booth is rooted in the artist\u2019s searing \u201cAIDS\u201d series. These works channel the devastation of the epidemic through his signature blend of Ukiyo-e <\/a>aesthetics and contemporary sociopolitical themes. Commanding the booth is Father and Son<\/a> (1990), a nearly 9-foot watercolor that renders two figures in the final stages of infection with heartbreaking clarity. This work is priced at $250,000. <\/p>\n 18<\/p>\n View Slideshow<\/p>\n On both side walls, the gallery presents a series of elongated horizontal watercolors. To the left, New Views of Mt. Fuji\/Dolphins and Samurai<\/a> (1979) features giant dolphins crashing through the surf as samurai fishermen struggle to stay afloat. Founder Catharine Clark noted the work is a sharp critique of \u201cenvironmental concerns and overfishing,\u201d particularly on how globalized tuna fishing kills dolphins. On the right, Study for Wave Series\/Molokai Lookout Point<\/a> (1984) depicts a more serene\u2014yet still powerfully turbulent\u2014ocean vista. <\/p>\n The works in the booth are priced as low as $500 for some of the artist\u2019s studies on paper, up to the most expensive painting, Father and Son, which is priced at $250,000.<\/p>\n With works by Elise Asher, Lauren dela Roche, Sari Dienes, Martha Edelheit, Mimi Gross, Colleen Herman, Hu\u00ea Thi Hoffmaster, Marcia Marcus, Christabel MacGreevy, Sana Musasama, Joe Overstreet, Pat Passlof, Jeanne Reynal, Miriam Schapiro, Paul Waters, Nina YankowitzBooth D1 Installation view of Eric Firestone Gallery\u2019s booth at Art Basel Miami 2025. Courtesy of Eric Firestone Gallery.<\/p>\n Of the many monumental works at Eric Firestone Gallery<\/a>\u2019s booth, the most arresting may be Joe Overstreet<\/a>\u2019s vast painting Indian Sun<\/a> (1969). This kaleidoscopic geometric spiral\u2014long thought lost and known only from a 1970 Time magazine issue featuring the work\u2014was recently rediscovered in his studio. It stands at the heart of the booth, strategically placed at the end of one of the convention center\u2019s long corridors of galleries.<\/p>\n The New York gallery is presenting several large-scale works, including Lauren dela Roche<\/a>\u2019s Subterranean Babbling Brook (2025), featuring several lounging nude women in a dreamlike cityscape. <\/p>\n The gallery is also showing new ceramics from 68-year-old ceramist Sana Musasama<\/a>. These vertically stacked sculptures evoke totems or temples\u2014multicolored forms adorned with intricate patterns and mask-like faces. The works in the booth range from $5,000 to $550,000 for the Overstreet painting. <\/p>\n Works by Mar\u00eda Berr\u00edo, Secundino Hern\u00e1ndez, Kudzanai-Violet Hwami, Isaac Julien, Idris Khan, Yayoi Kusama, Doron Langberg, Alice Neel, Maria Nepomuceno, Chris Ofili, Celia Paul, Conrad Shawcross, Do Ho Suh, Sarah Sze, Adriana Varej\u00e3o, and Flora Yukhnovich.Booth B5 Installation view of Victoria Miro\u2019s booth at Art Basel Miami Beach 2025. All artworks \u00a9 the artists. Courtesy of the artists and Victoria Miro. <\/p>\n Six years ago, Victoria Miro<\/a> debuted one of only six existing Yayoi Kusama<\/a> infinity mirror rooms designed to use natural light rather than electricity. All of the original editions sold, but this year, one of them returns as the centerpiece of the booth, where attendees lined up to visit throughout the VIP day. <\/p>\n Where the Lights in My Heart Go (2016) is punctured with small apertures, allowing slivers of exterior light to pierce the darkness. \u201cThere\u2019s a simplicity about it, which I think is really beautiful,\u201d gallery president Glenn Scott Wright told Artsy. \u201cFrom the ambient light alone, you have this sense of being immersed in the night sky.<\/p>\n 6<\/p>\n View Slideshow<\/p>\n The eminent London gallery also features several standout portraits, including Mar\u00eda Berr\u00edo<\/a>\u2019s Clouded Infinity (2020)\u2014a quiet depiction of a woman seated on a couch, rendered through the Colombian artist’s signature collage of Japanese paper over canvas. This is positioned near another standout, Alice Neel<\/a>\u2019s Richard (1980), which portrays the profile of a man in blue sitting on a striped bench. <\/p>\n Elsewhere, tucked away in the back of the gallery\u2019s booth is a selection of Celia Paul<\/a>\u2019s paintings, almost abstract scenes that ripple like water. One example, Lapping Waves<\/a> (2017), presents a hazy view of water washing up onto a beach. Works in the booth range in price from $30,000 to $6 million. <\/p>\n With works by Nike Davies-OkundayeBooth S5 Installation view of ko\u0301\u2019s booth at Art Basel Miami Beach 2025. Courtesy of ko\u0301.<\/p>\n Nigerian textile artist Nike Davies-Okundaye<\/a>, who comes from five generations of artists and made her first textile work at just six years old, is the focus of Lagos-based gallery k\u00f3<\/a>\u2019s presentation. Davies-Okundaye\u2014one of 10 women artists included in Tate\u2019s Nigerian Modernism<\/a> exhibition\u2014is showcased here through a selection of her richly patterned textile works from across her career. <\/p>\n 20<\/p>\n View Slideshow<\/p>\n Davies-Okundaye told Artsy that all of her works, which are meticulously hand-stitched bead mosaics and textiles, \u201ccome from my dreams.\u201d One striking example in the booth is Flying Angel<\/a> (1969), featuring a giant winged, horse-like creature protecting the artist (featured as a small figure on the left side of the angel) from the evils of the world. <\/p>\n At 74, the artist remains committed to sustaining a centuries-old Yoruba weaving tradition through her practice. The works in the booth range from $35,000 to $120,000.<\/p>\n With works by Alejandra Venegas, Andr\u00e9s Pereira Paz, Brenda Cabrera, Circe Irasema, Eduardo Terrazas, Gabriel de la Mora, Guillermo Garc\u00eda Cruz, Hilda Palafox, Iv\u00e1n Krassoievitch, Josu\u00e9 Mej\u00eda, and N\u00e9stor Jim\u00e9nezBooth E25 Installation view of Proyectos Monclova\u2019s booth at Art Basel Miami Beach 2025. Photo by Mark Blower. Courtesy of Proyectos Monclova. <\/p>\n The most striking works at Proyectos Monclova Gallery<\/a>\u2019s booth are the series of paintings by Hilda Palafox<\/a>, each depicting partially nude women in various forms of communion with nature. In Puente<\/a> (2025), for instance, a procession of colossal women wades through a green sea as a lone figure watches from shore. Palafox brings these figures fully into three dimensions with her sculpture Figura 19 ((In)alcanzable) <\/a>(2025), which positions two women face-to-face, their arms intertwined. Together, these works imagine a quietly dominant matriarchal world.<\/p>\n 58<\/p>\n View Slideshow<\/p>\n The rest of the Mexico City gallery\u2019s booth offers a strong cross-section of leading Latin American artists. Gabriel de la Mora<\/a>\u2019s 9,063 – Pa.Ul., from the series Lepid\u00f3ptera<\/a> (2025) sits at the center of the booth. The Mexican artist arranged 9,063 Papilio ulysses butterfly wings to create a frenetic optical illusion. Meanwhile, Circe Irasema<\/a>\u2019s three-dimensional paintings on wood, including Soporte vital, resistencia dina\u0301mica – Francisco Moyao<\/a> (2025), resemble VHS cases.<\/p>\n Sales director Alexandra Lovera told Artsy that the two largest works by de la Mora sold for $200,000\u2013$300,000 apiece, calling the VIP day\u2019s energy \u201ctruly palpable.\u201d<\/p>\n With works by Kamyar Bineshtarigh, Chloe Chiasson, Amine El Gotaibi, Bonolo Kavula, Manyaku Mashilo, Rom\u00e9o Mivekannin, Nandipha Mntambo, Zanele Muholi, Ambrose Rhapsody Murray, Ayotunde Ojo, Zizipho Poswa, Usha Seejarim, Marcus Leslie Singleton, and Dominique Zinkp\u00e8Booth B10 Installation virew of Southern Guild\u2019s booth at Art Basel Miami Beach 2025. Courtesy of Southern Guild. <\/p>\n Southern Guild<\/a>\u2019s presentation quite literally includes a section of a studio wall. Kamyar Bineshtarigh<\/a>\u2019s Brett\u2019s Studio Wall<\/a>(2025) is constructed from layers of paint, masking tape, collaged paper, dried sunflower, and other materials lifted directly from his friend Brett\u2019s workspace. The work is part of the Iranian artist\u2019s ongoing practice of creating works directly on the walls of close friends and peers\u2019 studios, preserving their creative environments as living records of artistic community and process.<\/p>\n 27<\/p>\n View Slideshow<\/p>\n That is just one of two massive works on display at the South African gallery\u2019s booth. The other is Zizipho Poswa<\/a>\u2019s Isacholo<\/a> (2024), a 9-foot-tall bronze sculpture. The Cape Town\u2013based sculptor is inspired by her Xhosa heritage. For this work, the title refers to a traditional beaded bangle worn by Xhosa people, an Indigenous group that primarily lives in South Africa. This work is priced at $350,000. <\/p>\n On the outside of the booth, the gallery features a new painting by The Artsy Vanguard 2026<\/a> artist Manyaku Mashilo<\/a>. In the Radiance of Stars<\/a> (2025) depicts eight poised figures standing against a star-studded black sky anchored by a red moon glowing in the corner. The price range for the booth is $15,000 to $350,000.<\/p>\n With works by Emma AmosBooth S8 Installation view of RYAN LEE\u2019s booth at Art Basel Miami Beach 2025. Courtesy of RYAN LEE. <\/p>\n During the 1984 and 1988 Olympics, the late American artist Emma Amos<\/a> depicted several leading athletes, including track stars Carl Lewis and Evelyn Ashford. These portraits line the walls of RYAN LEE<\/a>\u2019s sports-themed booth of works by the artist and are among the few paintings Amos created using her own weaving integrated directly into the canvas.<\/p>\n \u201cThese works, imbued with a sense of history and the artist\u2019s handmade weaving, are unique and inventive as they depict iconic Black athletes at the top of their game,\u201d gallery partner \u200b\u200bJeff Lee told Artsy.<\/p>\n Another star, the running back Emmitt Smith\u2014who played for both the Florida Gators and the Dallas Cowboys\u2014appears in Football Player and Alligators (ca. 1987), head down as he barrels forward, number 22 on his jersey. In Star and Leopard (1983), a basketball player twists mid-motion, his musculature emphasized by Amos\u2019s woven elements: an interplay of strength and grace portrayed with the artist\u2019s own meticulous practice. The works in the booth range in price from $35,000 to $575,000.<\/p>\n With works by Ana Tonico Lemos Auad, Jonathan Baldock, Sarah Ball, Caroline Coon Alexandre Diop, Andreas Eriksson, Denzil Forrester, Kendell Gee Wayne Gonzales, Hulda Guzm\u00e1n, Holly Hendry, Jim Hodges, Ilon Roberts, Anne Rothenstein, Yinka Shonibare, Jaune Quick-to-See Walker, Clare Woods, Yooyun Yang, and Luiz Zerbini; and Ghada Amer, El Anatsui, Winston Branch, Nolan Oswald Dennis, Leonardo Drew, Jared Ginsburg, David Goldblatt, Dor Guez, William Kentridge, Kapwani Kiwanga, Atta Kwami, Misheck Masamvu, Cassi Namoda, Shirin Neshat, Hank Willis Thomas, Clive van den Berg, and Carrie Mae Weems.Booth D15 Installation view of Goodman Gallery and Stephen Friedman Gallery\u2019s booth at Art Basel Miami Beach 2025. Photo by Silvia Ross. Courtesy of Goodman Gallery and Stephen Friedman Gallery. <\/p>\n One of a handful of collaborative booths at this year\u2019s fair is also one of the strongest: Stephen Friedman Gallery<\/a> and Goodman Gallery<\/a> have joined forces to present a major selection from Yinka Shonibare<\/a>\u2019s ongoing \u201cLibrary\u201d series, which has previously included installations at Tate Modern.<\/p>\n The bold installation at this booth features hundreds of books bound in kaleidoscopic Dutch wax batik cloth, materials long entangled with colonial trade and a hybrid cultural identity. Each volume bears the name of a scientist, scholar, or cultural innovator whose ideas have shaped our understanding of the world. By gathering these figures together on the shelf, Shonibare honors intellectual histories and draws attention to the sheer breadth of voices that have shaped global knowledge. <\/p>\n 11<\/p>\n View Slideshow<\/p>\n 13<\/p>\n View Slideshow<\/p>\n \u201cShonibare\u2019s practice embodies community, ritual, and learning\u2014values that resonate deeply with both of our galleries,\u201d gallerist Stephen Friedman told Artsy. \u201cPresenting a work of this scale and ambition is only possible through genuine collaboration, and we are proud to create the conditions for it to be experienced in a context that invites dialogue and understanding.\u201d<\/p>\n This installation is joined by a selection of works from each gallery\u2019s roster, including standouts by Holly Hendry<\/a> and Denzil Forrester<\/a>. <\/p>\n","protected":false},"excerpt":{"rendered":"Art Market Installation view of Eric Firestone Gallery\u2019s booth at Art Basel Miami 2025. Courtesy of Eric Firestone…\n","protected":false},"author":2,"featured_media":72178,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[41468,41467,41461,41463,41460,123,125,124,41465,41464,40315,41462,41466],"class_list":{"0":"post-72177","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-miami","8":"tag-catharine-clark-gallery","9":"tag-eric-firestone-gallery","10":"tag-goodman-gallery","11":"tag-ko","12":"tag-major-fair","13":"tag-miami","14":"tag-miami-headlines","15":"tag-miami-news","16":"tag-proyectos-monclova-gallery","17":"tag-ryan-lee","18":"tag-southern-guild","19":"tag-stephen-friedman-gallery","20":"tag-victoria-miro"},"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/us-fl\/wp-json\/wp\/v2\/posts\/72177","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/us-fl\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/us-fl\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-fl\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-fl\/wp-json\/wp\/v2\/comments?post=72177"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/us-fl\/wp-json\/wp\/v2\/posts\/72177\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-fl\/wp-json\/wp\/v2\/media\/72178"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/us-fl\/wp-json\/wp\/v2\/media?parent=72177"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-fl\/wp-json\/wp\/v2\/categories?post=72177"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-fl\/wp-json\/wp\/v2\/tags?post=72177"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"https:\/\/www.newsbeep.com\/us-fl\/wp-content\/uploads\/2025\/12\/1764919709_821_d7hftxdivxxvm.cloudfront.net\")
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