Art Basel Paris returns this October to a renovated Grand Palais, with 206 leading international galleries participating – including 180 within the Galeries sector – and 65 exhibitors operating spaces in France, the fair highlights the strength and vitality the country’s gallery scene and art ecosystem.
Art Basel Paris runs from October 24th-26th, 2025, with Preview Days on October 22nd and 23rd, 2025.
For more than a century, Paris has stood as a cradle of creativity – a living history that will be reflected across its sectors and Public Program. Cubism, Surrealism, Situationism, and many other movements were born in the French capital, and generations of artists, writers, and thinkers shaped ideas that reverberated far beyond the city. That avant-garde will be palpable at the show, thanks to a rich blend of established galleries, cutting-edge newcomers, and world-class creatives. During Art Basel Paris, the fair also acts as the primary catalyst of France’s competitive art market – which operates as the fourth largest worldwide, accounting for 7% of global art market sales and more than half of the EU’s total value, according to the Art Basel and UBS Global Art Market Report 2025.
While every Art Basel fair reflects the dynamic interplay between the show and its host city, Art Basel Paris’ connection with the city becomes particularly evident under the glass roof of one of Paris’ most iconic architectural landmarks, host of many defining moments for Modern and contemporary art. This ever-growing connection is further underscored by this year’s Public Program, unfolding across nine iconic venues of the French capital, as well as by Art Basel Paris’ ties to the city’s creative industries, embodied this year by its re-hanging initiative Oh La La!, art-directed by French fashion documentarian and filmmaker Loïc Prigent; its dynamic Conversations Program, with celebrated fashion editor Edward Enninful who has just launched his magazine 72 as guest curator for a day; and the impactful artistic projects of the show’s partners.
Art Basel Paris’ main sector, Galeries, reunites 206 exhibitors from 41 countries and territories, presenting the full breadth of their programs. From early 20th-century pioneers and Postwar luminaries to blue-chip masters and ultra-contemporary voices, the presentations reflect the show’s unparalleled scope. This year, the sector sees a wide variety of presentations centered around the broader theme of avant-garde, highlighting Paris’ enduring role as a laboratory of experiment and exchange. Across historic rediscoveries and daring new proposals, the galleries together sketch a lineage that connects Paris’ cultural histories with the global conversations of today.
Galeries
Building on this legacy, other galleries foreground today’s most daring practices, reaffirming Paris’ role as a stage for the contemporary avant-garde.
• Galerie Max Hetzler (Berlin, Paris, London, Marfa) will present works by Albert Oehlen, Bridget Riley, Katharina Grosse, and Sabine Moritz. A leading voice in contemporary avant-garde, Oehlen’s paintings – oscillating between figuration and abstraction – will coincide with his exhibition Endless Summer at Gagosian and Max Hetzler in Paris. Riley’s hypnotic compositions, rooted in her engagement with Georges Seurat, are the subject of a major exhibition at the Musée d’Orsay opening the same week. For the first time at Art Basel Paris, the gallery will also show works by Sabine Moritz, whose practice intertwines memory, history, and lived experience in a lyrical painterly language.
• Xavier Hufkens (Brussels) will present a cross-generational grouping that brings together Louise Bourgeois, Tracey Emin, Charline von Heyl, Mark Manders, and Cecilia Vicuña. Bourgeois, a central figure of Postwar art, is represented with a late bronze from 2005, while Emin’s new painting Hunter (2025) and von Heyl’s Menelaos (2024) highlight contemporary developments in figuration and abstraction, echoing these two currents’ strong ties to the French capital. Manders contributes a monumental sculptural assemblage realized between 2015 and 2025, and Vicuña’s Corazones (2024) adds a poetic and painterly dimension. Seen together, the presentation underscores the gallery’s commitment to artists whose work continues to shape the evolving language of the avant-garde.
• Sfeir-Semler Gallery (Hamburg, Beirut) will present a selection including Etel Adnan, Samia Halaby, Marwan, Dana Awartani, Lawrence Abu Hamdan, Tarik Kiswanson, and others. At its center is a luminous 1990s canvas by Adnan, the Lebanese-born, Paris-based poet and painter whose vibrant abstractions have become emblematic of the city’s postwar avant-garde legacy. Shown in dialogue with works ranging from Halaby’s expansive abstractions and Marwan’s expressive heads to Awartani’s textile-based meditations and Abu Hamdan’s conceptual investigations, the presentation highlights how questions of identity, memory, and political engagement continue to shape avant-garde trajectories across the Arab world and its diaspora.
Among the international cohort of 29 galleries that are participating in Art Basel Paris for the first time, the main sector welcomes 13 newcomers. Together, these first-time participants resonate with Paris’ multicultural heritage while opening new perspectives for today. Their presentations range from revisited histories and postcolonial narratives to bold experiments in form and material, embodying the spirit of invention that has defined Paris for over a century.
• Crèvecœur (Paris) brings together Miho Dohi, Inès di Folco Jemni, Ernst Yohji Jaeger, Yu Nishimura, Louise Sartor, Naoki Sutter-Shudo, and rare works by Morikazu Kumagai. Anchored in the Japanese concept of mono no aware – the experience of impermanence – the presentation opens fresh possibilities for breaking with European pictorial and sculptural conventions. Another highlight of the gallery’s presentation will be works by French Colombian painter Emma Reyes, whose career primarily unfolded in Paris, where she developed her bold, vibrant pictorial language.
• The Approach (London) stages a group presentation with Anderson Borba, Jai Chuhan, Sara Cwynar, Sandra Mujinga, Paloma Proudfoot, and Mike Silva. Spanning painting, sculpture, photography, film, and installation, the works revisit themes central to the avant-garde – the body, identity, memory, and social critique – and reimagine them for the present.
• Lodovico Corsini (Brussels) features new kinetic sculptures by Meriem Bennani, extending her acclaimed Cursed Objects series, alongside paintings by Calvin Marcus and pastels by Peter Wächtler. The presentation explores transformation, perception, and the human condition, echoing the experimental drive that unites the artists on the gallery’s roster.
• 1 Mira Madrid / 2 Mira Archiv (Madrid) presents the complete archive of Lea Lublin (1929–1999), a key figure of European conceptualism whose work engaged feminism, semiotics, and social critique. Complementing this, the booth includes recent works by Esther Ferrer, a pioneer of performance and conceptual art. Both artists arrived in Paris in the late 1960s, shaping practices grounded in feminist discourse and political engagement.
• David Nolan Gallery (New York) spotlights works on paper, a medium at the heart of the gallery’s program. Museum-quality drawings by Hans Bellmer, Christina Ramberg, Martin Kippenberger, Dorothea Rockburne, and Nicole Eisenman reflect diverse avant-garde approaches to the body, space, and society across generations.
• Stevenson (Cape Town, Johannesburg, Amsterdam) debuts with Seismic shifts: South Africa in the ’90s, revisiting how artists including Jane Alexander, Steven Cohen, Moshekwa Langa, Jo Ractliffe, Robin Rhode, and Penny Siopis responded with urgency and invention to the end of apartheid. Shown alongside recent projects, these works trace how early breakthroughs evolved into lifelong investigations.
• Jan Kaps (Cologne) presents a duo exhibition of Selome Muleta and Helena Uambembe. Muleta’s introspective paintings subvert traditional representations of women, while Uambembe explores the legacies of violence and displacement tied to her Angolan heritage. Together, their works reflect on memory, resilience, and how trauma can be reimagined through art.
• 47 Canal (New York) features work across media by Michele Abeles, Emmanuel Louisnord Desir, Mickael Marman, Trevor Shimizu, Nolan Simon, and Cici Wu. Central to the booth is Simon’s new series of reclining nudes, reinterpreting a historic genre through the lens of intimacy and perception in today’s image culture.
• Sikkema Malloy Jenkins (New York) presents a cross-section of gallery artists including Louis Fratino, Jeffrey Gibson, Sheila Hicks, Teresa Lanceta, Jennifer Packer, Kara Walker, and Luiz Zerbini. Spanning painting, textiles, ceramics, collage, and video, the presentation foregrounds diverse cultural perspectives that challenge and expand dominant narratives.
Joint & Solo Projects
Embracing a spirit of collaboration, a record 20 exhibitors will present 10 joint booths at Art Basel Paris 2025 – nine in the main sector and one in Premise. Highlights include:
• Chapter NY (New York) and Soft Opening (London) – both first time participants at Art Basel Paris – join forces for a group presentation, featuring Olivia Erlanger, represented by Soft Opening, Stuart Middleton, represented by Chapter NY, and Gina Fischli, represented by both galleries. Among the highlights, Fischli debuts a series of animal sculptures arranged along a custom-built runway. In dialogue, Erlanger introduces a constellation of stainless-steel arrows mapping the Paris night sky in 1880, while Middleton contributes dissected clocks and industrial drawings.
• Christian Andersen (Copenhagen) and Fanta-MLN (Milan) present works by Patricia L. Boyd, Jason Hirata, Benjamin Hirte, and Lorenza Longhi. Engaging with the infrastructures that shape our contemporary lives – both physical and immaterial – the artists create gaps and fractures, striving to grasp these conditions and hint at possible shifts within them.
• Nicoletti (London) and seventeen (London) graduate from the fair’s Emergence sector to Galeries with a shared presentation of new works by Josèfa Ntjam, Abbas Zahedi, Patrick Goddard, and Justin Fitzpatrick. Conceived as an interconnected exhibition, the project explores exchanges between human consciousness, ecological systems, and socio-political structures, with works that employ flux, contamination, and mutation to reflect on questions of class, identity, and environment.
• Michael Rosenfeld Gallery (New York) and Jeffrey Deitch (New York, Los Angeles) jointly present sculptures by Karon Davis with paintings by Bob Thompson, who spent formative years as an artist in 1960s Paris. A cornerstone of the display is Black Monster (1959), a large-scale masterpiece exemplifying Thompson’s bold palette and figurative expressionism, complemented by additional works from 1959 to 1963. Davis’ sculptures enter into dialogue with Thompson’s canvases, offering resonant reflections on history, memory, and representation.
This year’s edition also features a series of focused solo booth projects, offering immersive encounters with the practice of a single artist. Highlights include:
• Commonwealth and Council (Los Angeles) dedicates its booth to a solo presentation by Gala Porras-Kim. Through drawings and installations, the artist questions how objects are collected, classified, and displayed, raising issues of taxonomy, interpretation, and ethics. Presented in Paris, the project resonates with the city’s world-class museums and their role in shaping cultural narratives, as well as current discourses around restitution policies, while underscoring Porras-Kim’s position as a leading voice in the contemporary avant-garde.
• Carlos/Ishikawa (London) presents a solo booth of new works by Evelyn Taocheng Wang. Trained initially in classical Chinese painting, Wang draws on diverse art histories and literary references to explore questions of authenticity, identity, and belonging. By weaving personal narrative with East–West dialogues and autobiographical fragments, Wang challenges conventions of identity while reflecting on how the self is performed in everyday life.
• Galerie Cécile Fakhoury (Abidjan, Dakar, Paris) spotlights Binta Diaw with a new installation and photographs from her Paysage Corporel (Body Landscape) series. Rooted in her diasporic identity and informed by intersectional and ecofeminist thought, Diaw’s practice interlaces materiality, context, and sensory experience to question dominant historical narratives. Using natural elements such as earth, plants, water, and hair, she creates poetic yet politically charged works that reframe collective memory.
• Emalin (London) highlights a project by American artist and musician Jasper Marsalis, conceived especially for the fair. Combining audience-responsive video, motion-sensor technology, sculpture and painting, Marsalis explores the politics of performance, visibility, and the dynamics of spectatorship in today’s attention economy.
• The Modern Institute (Glasgow) will stage the first solo presentation in continental Europe of Korean painter Kim Bohie. Spanning new and historical works, the booth highlights Kim’s luminous landscapes shaped by the island of Jeju, where she has lived and worked since the early 2000s. Rooted in the traditions of sansuhwa (Korean landscape painting) yet informed by international influences, her panoramic compositions balance the real and the imagined, offering contemplative encounters with nature.
Emergence
Unfolding across the balconies of the Grand Palais’ Nave, Emergence features 16 solo presentations by some of today’s most promising artists. With eight galleries joining Art Basel Paris for the first time, the sector reflects the city’s enduring role as a place where new voices are discovered and avant-garde ideas continue to take shape, complementing the broader program of the fair. This year’s highlights include:
• Gauli Zitter (Brussels) will present dissociation variations, a solo project by Paris-based artist Ethan Assouline. Conceived as a whole exhibition within the booth, the project continues from Assouline’s recent solo show in Brussels. His sculptural compositions of found objects, sometimes painted or accompanied by his own poems, will revolve around the motif of the clock – a device that structures urban life while hinting at the political narratives embedded in the city’s landscape.
• Bank (Shanghai, New York) presents an immersive installation by Duyi Han. Comprising a series of ‘neuroaesthetic prescriptions,’ the work aims to transform rooms and objects into manifestations of mental states, interweaving folkloric and religious references with contemporary mental health practices.
• Blindspot Gallery (Hong Kong) will make its debut at Art Basel Paris 2025 with a solo exhibition of new papercut works by Xiyadie, a self-taught artist who transforms traditional Chinese folk craft into a radical medium of queer expression. His intricate scenes depict male lovers amidst rustic landscapes of farms and gardens, framed by peonies, animals, and celestial symbols.
• Cibrián (San Sebastián), one of the sector’s first-time exhibitors, presents New Energy, a film installation combined with concept drawings with customized frames by Siyi Li. Centered on two women whose shifting roles and relationships unfold as they drive through Shanghai, the work explores creativity as a fluid and ever-changing force while drawing on the visual language of fashion editorials.
• Exo Exo (Paris) stages Bébé Boum, an installation by Paris-born artist Ash Love. Balloons printed with images from personal archives and collective iconography float alongside paintings resembling greeting cards, where the repeated ‘Happy Birthday’ underscores the erosion of meaning in standardized rituals. Through this imagery of celebration, Love addresses which narratives are commemorated and which are erased, pointing to the marginalization of queer histories.
• Heidi (Berlin) highlights the work of Kandis Williams, whose transdisciplinary practice spans collage, performance, writing, publishing, and pedagogy. Through meticulously layered collages and script-like performances, Williams critically dismantles narratives around race, nationalism, and power.
• Galerie Molitor (Berlin) debuts at Art Basel Paris with a solo project by Dora Budor. Her video sculptures, built from repurposed champagne boxes, project excerpts from Marcel L’Herbier’s 1928 film L’Argent, a Paris-based critique of financial speculation. Juxtaposing original and AI-colorized scenes, the works reflect on cycles of distortion in history and spectatorship. Alongside, Reproduce Me (2025) repositions vintage IKEA tables modeled on French neoclassicism, probing how cultural heritage becomes commodity.
• Petrine (Paris, Düsseldorf) presents a new body of work by Sophie Kovel, Collections and Estates. The project unfolds in two strands: photographs and sculptures documenting jewels, porcelain, and decorative objects that trace the entanglements of philanthropy, diplomacy, and class imagination; and the video Uncovering/Extracting (2025), pairing archival footage with poetry to connect luxury display to histories of labor and extraction. Taking France and the United States as case studies, Kovel reflects on how histories of revolution, collection, and consumption continue to shape the present.
• Sophie Tappeiner (Vienna) presents Stealth Technology, a new body of work by Jala Wahid. The installation comprises four sculptures that intertwine the violence of military invasion and forced migration with intimate histories of love and resilience, rooted in the Wahid’s deep interest in the Kurdish diaspora.
• The Pill (Istanbul, Paris) presents a solo project by Nefeli Papadimouli, who lives and works between Paris and Athens. Her modular and elastic structures invite collective movement and create temporary architectures of assembly, exploring how bodies negotiate space and identity.
• Vardaxoglou Gallery (London) makes its debut at Art Basel Paris with a solo presentation by Tanoa Sasraku. The booth features Mascot (2025), a nearly five-metre-high sculpture made from newsprint, ink, and foraged mineral pigments from Ghana and Cornwall. Part of Sasraku’s Terratypes series, the work combines processes of collage, printmaking, and textile construction to weave together personal and historical narratives.
Further galleries participating in the sector are Drei (Cologne), presenting Mira Mann; Lars Friedrich (Berlin), presenting Sydney Schrader; Ginny on Frederick (London), presenting Arash Nassiri; ROH (Jakarta), presenting Kanitha Tith; Sweetwater (Berlin), presenting Alexandre Khondji.
Premise
Dedicated to curated, thematic presentations that may include work predating 1900, the second iteration of the Premise sector will feature nine booths and eight first-time participants. Together, these exhibitions highlight singular narratives that resonate with Paris’ legacy as a historic nexus of radicality.
• Kadel Willborn (Düsseldorf) presents a dialogue between Lucia Moholy (1894-1989), the Bauhaus photographer whose luminous abstractions shaped modern design, and Liz Deschenes (b. 1966), a leading voice in post-conceptual photography. Together, their works span a century of experimentation, showing photography as a medium that transcends documentation to become material, spatial, and immersive.
• Martine Aboucaya (Paris) stages a rare presentation of Robert Barry’s (b. 1936) immaterial works from 1969. Exploring telepathy, magnetism, and intangible phenomena, these conceptual landmarks shift perception from seeing to sensing, affirming Barry’s pioneering role in expanding the very definition of art.
• Pavec (Paris), returning to the sector, spotlights Marie Bracquemond (1840-1916), long overlooked in the history of Impressionism yet celebrated today as one of its great pioneers. Her still lifes, portraits, and landscapes from the 1870s-90s reveal a delicate, intimate gaze that transforms the everyday into visual poetry.
• The Gallery of Everything (London) makes a return with a revisit of the visionary paintings of Haitian artist and Vodou priest Hector Hyppolite (1894-1948). Celebrated by André Breton and featured in Le Surréalisme en 1947, Hyppolite’s vibrant works merge ritual, history, and spirituality, affirming his singular place in modern art.
• Château Shatto (Los Angeles) pairs Emily Kame Kngwarreye (1910-1996), the Australian First Nations artist whose late-life paintings celebrate the intimate bond with her land, with Alan Lynch (1926-1994), whose works reflect a Zen-inflected harmony of color and form. Both artists transcend Western traditions to invent powerful, personal visual lexicons.
• Gordon Robichaux (New York) and Stars (Los Angeles) present Janet Olivia Henry (b.1947), whose dioramas and assemblages turn collecting into an act of freedom. Populated by dolls, shoes, and everyday objects, her miniature universes probe power, identity, and hidden hierarchies in art and society.
• Tina Kim Gallery (New York, Seoul) showcases South Korean artist Lee ShinJa (b. 1930), who in the 1950s and 1960s transformed textile traditions into a language of abstraction. Through embroidery, dyeing, and weaving, she elevated fabric from domestic craft to avant-garde experiment, weaving memory, nature, and poetry into form.
• Galerie Eric Mouchet (Paris, Brussels) revisits Ella Bergmann-Michel (1896-1971), a rare woman of the early Bauhaus and pioneering experimenter in photography, film, and collage. Her work across decades fuses abstraction, light, and movement, contributing a vital yet overlooked chapter to 20th-century modernism.
Public Programme
Alex Da Corte, Kermit the Frog, Even, 2018 Presented by Sadie Coles HQ (London) (lead image)
At Place Vendôme, Alex Da Corte presents an inflatable sculpture based on the collapse of a Kermit balloon during New York’s 1991 Thanksgiving Day Parade. Half-deflated yet still afloat, the figure hovers in a state of suspended vulnerability. Its sagging body transforms an icon of childhood joy into a monument of fragility and delusion.
By isolating and monumentalizing this fleeting accident, Da Corte turns a symbol of optimism and childhood into an image of exhaustion and fragility. The piece continues his exploration of American pop culture as a site of both collective fantasy and buried unease – where cartoons, consumer icons and suburban ideals reveal their cracks.
This is the fourth Public Program project realized by Art Basel Paris in collaboration with City of Paris on Place Vendôme. The work will be on view from October 20 to October 26, 2025. A performance activating the work will take place on Monday, October 20, 2025 at 4pm
Art Basel Paris, October 24th-26th, 2025
Grand Palais
Preview Days on October 22nd and 23rd, 2025.
Tickets the show, including to the publicly accessible Vernissage on the evening of October 23rd, are now exclusively available on artbasel.com/paris/tickets.
