Art Palma Summer opens on 6 June, its ninth edition, with more than sixty artists across twenty-three spaces. A few weeks later, from 25 to 28 June, comes Can Art Fair Ibiza, now in its fifth edition. Hauser & Wirth in Menorca has already opened its season, on 25 April, with Martin Creed. Formentera brings the cycle to a close in September, with Alberto García-Alix at the Sala de Cultura.
Pelaires has been on Carrer de Can Brondo, in Palma’s old town, since 1969. In gallery years, that is an eternity. The gallery never relied on event-driven effects, and it shows. Miquel Barceló is the historic anchor: internationally anchored, locally rooted, a brand that is both things at once without breaking under the weight of it. Emil Adam represents the younger line: glass and metal objects in which the sea appears as a material condition, not as a motif.
Image from the latest edition of the Can Art fair held at the Fairgrounds. / Vicent Marí.
Gallery RED, on Carrer de Sant Feliu, thinks differently. Art, interior design and brand aesthetics as a system. Its audience is international, its instinct for visibility is sharply honed. Susy Gómez works well here: portraits of cubist rupture that negotiate identity and gender without needing a slogan. Works that remain in the space after the social noise has already moved on. Laia Ventayols’ painting arrives like a screen surface that breathes quietly: flat, sharp, and sufficiently bodily.
Tube Gallery in Santa Catalina functions more like a club-off-space than a classic gallery. Founded in 2023, with changing installations and noisy openings. Jack Burton has exhibited here: bad-tempered figuration, which is not an insult. Ten years ago, Santa Catalina was a working-class neighbourhood. Today, the price per square metre is as high as in parts of Berlin. Tube is not a symptom of this evolution, but nor is it an antidote. When the gallery adds DJ nights, the question arises of how art can still find public visibility in 2026 in a neighbourhood that is losing precisely its original public.
Teresa Matas turns the Serra de Tramuntana into a force field, not a panorama. Her landscapes are oversaturated and therefore more honest than the postcard motif. Max Boyla builds a post-tourist aesthetic with neon and rubbish: Instagram-friendly, but with interference noise. Gerhardt Braun Gallery, near the cathedral, plays with conceptual art for an audience that would also feel at home in Cologne or Basel. Josep Santamaria translates fishing traditions into ceramic forms that are neither souvenir nor quotation.
The institutional counterweight is provided by Casal Solleric, where Luis Gordillo, one of Spain’s most influential post-war painters, can be seen this summer. Kewenig, also in Palma, brings a decidedly international ambition without erasing the local context from the discussion. The Balearic programme needs these fixed points. Otherwise, it remains a well-curated season with no memory.
Menorca
Menorca was for a long time the quiet cousin in the Balearic art conversation. Since 2021, Hauser & Wirth has been on Illa del Rei, a small islet in Mahón harbour, a fifteen-minute ferry ride from the mainland. This year’s season began on 25 April with Martin Creed, winner of the Turner Prize and known for filling art spaces halfway with balloons. Creed ends on 7 June. On 21 June, Directionless opens: a group exhibition conceived by Rashid Johnson and curated by Cristina Iglesias, running until 25 October. It includes Charles Gaines, Firelei Báez, Georg Baselitz, Mona Hatoum, Julie Mehretu, Yto Barrada and more than twenty names. The fact that Cristina Iglesias, the Spanish sculptor, is curating on a Spanish island is not a side note. It is a gesture towards local rootedness that no press release would describe in those terms.
What actually happens when Hauser & Wirth arrives on an island that until recently was a footnote? Who is displaced? Which local structures come under pressure? What do the fishermen who have worked in this harbour for decades think? Or, more specifically: are the same people who translate for Rashid Johnson buying the country estates that locals can no longer afford? The gallery expects between 60,000 and 70,000 visitors this season. Entry is free. The ferry ticket is not. Whether this is the beginning of a local art scene or its anticipation by an international format is something the programme leaves unsaid.
LÔAC in Alaior is the other model. No event logic, no season rhetoric: a permanent collection with more than one hundred works by Miró, Tàpies, Plensa, Bourgeois and Saura. All in a restored old building that does not look like a gallery, and works precisely because of that. New from June 2026 is Lôcalart, an exhibition room for artists from Alaior itself. The step from the international canon to the street across the way. Menorca thus provides the conceptual depth of field that the rest of the archipelago lacks.
Ibiza
Can Art Fair Ibiza celebrates its fifth edition from 25 to 28 June. Curated by Sasha Bogojev, with thirty international galleries and Fecoev as its venue. The OFF programme begins as early as 29 May and runs until the end of June: Marina Marón, Catalina Julve, Federica Furbelli and Antonio Villanueva occupy lighthouses, shelters and stretches of coastline. This is not a parallel programme. It is the real concept.
Image from the latest edition of the Can Art fair held at the Fairgrounds. / Vicent Marí
Ibiza is more honest than it seems. The island does not pretend to simulate depth. It knows what it is, and builds its artistic summer around that knowledge. Susy Gómez is back. Max Boyla’s post-tourist aesthetic fits better here than anywhere else: neon and rubbish as materials in a context that is itself made of neon and rubbish, and yet, or precisely because of that, it works. Mallorca structures, Ibiza tests. This is not a value judgement. It is a division of labour.
Formentera
Formentera is small. The Sala de Cultura is small. Alberto García-Alix is not small. The photographer belongs among the most distinctive Spanish positions of the present. His black-and-white images are direct, bodily, with no way out. Presence, wound, deterioration, attitude: these are not themes, but states of aggregation.
No boho filter, but rather the question of how much reality a holiday island can withstand. Formentera sells lightness. García-Alix sells nothing. The contradiction works, and it works better here than elsewhere, because the island is small enough for it not to be diluted.
