Marking its 55th edition, Art Basel returned to Messe Basel this June with an ambitious presentation that confirmed its position as the undisputed heavyweight of the international art fair circuit. Spanning from June 17 to 22, with two preview days, the fair drew an impressive 88,000 visitors, bringing together collectors, curators, artists, and institutions from around the world. This year, 289 galleries from 42 countries and territories participated, reinforcing the fair’s global scope and relevance. While the numbers were notable, it was the atmosphere inside the halls—and the energy spilling out into the city—that gave a true sense of the fair’s continuing vitality and influence.
The 2025 edition was guided by Maike Cruse, in her role as Director of Art Basel in Basel, who described this year’s fair as a testament to the global market’s strength, resilience, and international reach. Indeed, visitors came from across Europe, the Americas, Asia, the Middle East, and Africa, with collectors flying in from as far afield as Bangladesh, Nigeria, Tunisia, and Chile. UBS, the fair’s global lead partner, returned with an extensive presence, curating a special exhibition of geometric abstraction from its corporate collection, alongside installations and programming that extended beyond the exhibition halls into the fabric of the city.
Institutional representation was exceptional. Over 250 major museums and foundations sent representatives, including the Guggenheim (both in New York and Abu Dhabi), MoMA, Centre Pompidou, M+, Zeitz MOCAA, the Leopold Museum, and the Louisiana Museum of Modern Art. Their presence underscored Basel’s continuing role as more than a commercial event—it remains a critical meeting point for cultural exchange and curatorial investment. This robust attendance also resulted in significant institutional acquisitions, particularly works by female artists and first-time participants, a sign of the market’s gradual shift toward inclusion and discovery.
Dealers across all sectors of the fair reported brisk sales. Major pieces by David Hockney, Gerhard Richter, Keith Haring, and Ruth Asawa found buyers. Mark Bradford’s dynamic compositions held strong, while works by Cecilia Vicuña, Loie Hollowell, and Alina Szapocznikow drew attention and institutional interest. Conversations on the ground suggested an increasingly informed and adventurous collector base. Sales were not limited to the blue-chip tier; many younger galleries reported strong engagement from both new and established collectors.
Katharina Grosse’s monumental public commission, CHOIR, transformed the Messeplatz with sweeping arcs of vivid magenta paint applied directly to architecture and pavement, drawing visitors into a spatial and chromatic reimagination of the urban square. Curated by Natalia Grabowska, the work—Grosse’s largest to date in an urban setting—became one of the most photographed and discussed elements of the fair. It also acted as a gateway into Art Basel’s wider public program, which included the Parcours sector, curated for the second time by Stefanie Hessler. Located along Clarastrasse, this year’s Parcours explored themes of artifice and ecology with new commissions that integrated seamlessly into Basel’s urban fabric. From an 80-metre textile work by Hylozoic/Desires in Münsterplatz to Selma Selman’s scent-infused installation in St. Clara Church, each piece engaged viewers in unexpected, often multisensory ways.
Unlimited, Art Basel’s sector dedicated to large-scale and performative works, returned with a compelling selection curated by Giovanni Carmine. Highlights included Andrea Büttner’s towering Shame Punishments series, Atelier Van Lieshout’s dystopian sculptural narrative The Voyage – A March to Utopia, Marinella Senatore’s participatory installation We Rise by Lifting Others, and a revival of Felix Gonzalez-Torres’ classic Untitled (Go-Go Dancing Platform). The hall’s extended opening for Unlimited Night gave visitors extra time to engage with works that require more than a cursory glance.
New to this year’s edition was the Art Basel Awards, held on June 19 at the historic Rathaus Basel and the Kunstmuseum. Thirty-six Medalists were honoured for their contributions to contemporary culture. The launch of the Koyo Kouoh Fellowship, in collaboration with RAW Material Company, was announced during the ceremony. The three-year initiative will support one African art professional annually, offering a fully funded development program at Art Basel in Basel. The following day, the inaugural Art Basel Awards Summit took place, offering free panel discussions and keynotes to the public. The summit attracted artists, curators, patrons and thinkers, creating space for urgent conversations about the future of art and culture.
On the commercial side, the Art Basel Shop leaned into playful and collectable collaborations this year. Katharina Grosse extended her visual language to a series of exclusive items, including hand-painted footballs, transparent vinyl bags, and signature rolls of tape. Other artist-designed editions included a raincoat by Thomas Bayrle, a collector’s jersey and scarf celebrating FC Basel, and limited-edition objects by Sasha Stiles, Daniel Arsham, and Amoako Boafo. Two reimagined Art Basel logos adorned a new line of totes, t-shirts and accessories. In-store artist signings and events kept the energy high throughout the week.
Sales Highlights:
Sales across Art Basel 2025 reflected strong demand in both the blue-chip and emerging markets, with significant acquisitions reported from major galleries representing artists at various stages of their careers. Highlights from the fair’s commercial performance span continents, price points, and collecting interests, with activity notably brisk across all major sectors.
Annely Juda Fine Art (London) reported the sale of David Hockney’s Mid November Tunnel (2006), an oil on two canvases, to a private collection in the USD 13–17 million range. Xavier Hufkens (Brussels) secured strong results with Tracey Emin’s Hunter (2025) selling for GBP 1 million, alongside Alice Neel’s Pink Table (1956) and Sterling Ruby’s SP279 (2014), fetching USD 1 million and USD 600,000 respectively. Further sales from Hufkens included a bronze assemblage by Danh Vō at EUR 350,000, as well as paintings by Charline von Heyl, Qiu Xiaofei, and Lesley Vance, each in the USD 220,000–350,000 range. Cecilia Vicuña’s Dar ver Cacaxtla (2023) sold for USD 185,000, while sculptural works by Mark Manders and Thomas Houseago—sold in multiples—ranged from EUR 110,000 to USD 110,000. A painting by Ulala Imai changed hands for USD 100,000, and two works by Tatiana Trouvé each achieved EUR 85,000.
David Zwirner (New York, Paris, Hong Kong, London, Los Angeles) delivered a particularly strong showing, with a Ruth Asawa sculpture achieving USD 9.5 million and a Gerhard Richter painting closing at USD 6.8 million. A diptych by On Kawara sold for USD 1.3 million. Meanwhile, Gladstone Gallery (New York, Brussels, Seoul) placed a sumi ink on wood work by Keith Haring for USD 3.5 million, and also sold pieces by Alex Katz and Robert Rauschenberg, each at USD 1.2 million.
Hauser & Wirth saw Mark Bradford’s market remain buoyant, with two major works from 2025 each selling for USD 3.5 million. Frank Bowling’s Iceni (1975) fetched USD 1.85 million. At Karma Gallery (New York, Los Angeles), Matthew Wong’s 2017 canvas The Smoke reached USD 1.2 million.
Thaddaeus Ropac (Salzburg, Paris, Pantin, Seoul, London) placed several major works by Georg Baselitz, including Drei Hunde aufwärts (1968) for EUR 3 million, Bündel (2015) for EUR 2 million, and Hier jetzt hell, dort dunkel dunkel (2012) for EUR 1.8 million. Additional sales included James Rosenquist’s Playmate (1966) at USD 1.8 million and Robert Rauschenberg’s Lipstick (Spread) (1981) at USD 1.5 million. Another Baselitz painting, Einer schwimmt noch (2023), went for EUR 1.2 million.
White Cube achieved a notable result with Michael Armitage’s In the garden (2015), which sold for USD 3.25 million. Baselitz’s Oh ho, siamo ritornati… (2023) brought EUR 2.2 million, and Cai Guo-Qiang’s Red Birds (2022) sold for USD 1.2 million to a European institution.
Yares Art reported the sale of Larry Poons’ The Outerlands (2022) in the Unlimited sector for USD 1.2 million. Lisson Gallery placed a 1948 Carmen Herrera work for USD 800,000, while Konrad Fischer Galerie sold Carl Andre’s CEDAR ROTOR (2002) for USD 800,000 to a Japanese collector. The gallery also moved On Kawara’s postcard works from the “I GOT UP” series to collectors in the US and Brazil for between USD 36,000 and 60,000.
Jessica Silverman Gallery (San Francisco) confirmed the sale of Judy Chicago’s Pasadena Lifesavers (1970) to a West Coast museum for USD 400,000. At Bortolami (New York), a painting by Lesley Vance sold for USD 150,000, while Seung Ah Paik’s and Marina Rheingantz’s mixed-media works were placed with private US collectors at USD 45,000–50,000.
GRIMM Gallery (Amsterdam, London, New York) sold Claudia Martínez Garay’s mural installation Conversiones (2025) for EUR 90,000 to the Pérez Art Museum Miami. Arturo Kameya’s God was on our side, the ref wasn’t (2025) was placed with a Dutch foundation for EUR 40,000, and three additional works from Kameya’s “Statements” presentation went to institutions in China and the Netherlands at prices ranging from EUR 15,000 to 20,000.
Altogether, the fair offered further evidence of the market’s broad base and global interest, with both historical and contemporary works moving decisively across a wide value spectrum.
What The Dealers Had To Say
“For US-based galleries, Art Basel represents an important bridge between Europe and the Americas. It not only allows us to deepen relationships with curators and collectors across Europe, but also to position our artists within broader institutional narratives. The fair’s global reach and curatorial calibre make it an unparalleled platform for introducing historically significant works that can enrich and complete European collections.”
John Kunemund, Partner, Alexander Grey Associates (New York, Germantown)
“Art Basel remains the most influential art fair in the world. For US galleries, it offers unmatched access to the European market and beyond. What sets Basel apart is the depth of its audience—collectors here are deeply informed and genuinely invested in the work. On the very first preview day, we connected with collectors from Vietnam, Germany, Hong Kong, and across the globe, reaffirming why Basel continues to hold the throne as the premier international art fair.” Wendy Olsoff, Co-Founder, P•P•O•W (New York)
“In a moment of instantaneous PDF sharing and digital everything, Art Basel proves that the greatest rewards come from showing up in person. This is the fair where you are guaranteed to see masterworks you otherwise wouldn’t, to be reminded of the best art’s ability to ambush ennui and shock the senses back to life. To mark the 55th anniversary of the fair and celebrate its absolute pre-eminence, Hauser & Wirth has brought a number of such rarities, leading with Mark Rothko’s 1962 ‘No.6/Sienna, Orange on Wine’—a homecoming for a masterpiece first exhibited in the legendary 1964 exhibition at the Kunsthalle Basel that introduced the Swiss public to international contemporary art of the avant-garde. At a time when people feel alienated from real life, Rothko’s own words are something of a motto for our gallery’s booth this year: ‘A painting is not a picture of an experience, it is an experience.’ These words are a reminder of what great art means, why Art Basel exists and why we are here.”
Iwan Wirth, President, Hauser & Wirth (Zurich, Paris, Hong Kong, Monaco, Ciutadella de Menorca, Basel, Gstaad, Sankt Moritz, London, Somerset, Los Angeles, New York, West Hollywood)
“Art Basel this year has proven to exceed our expectations. After a strong and busy start on the opening day, we continued to sell major works on each day of the fair. The quality you see here is incredibly high, and this is what people come for.”
Thaddaeus Ropac, Thaddaeus Ropac (London, Paris, Salzburg, Milan, Seoul)
“Art Basel 2025 offered Fortes D’Aloia & Gabriel the opportunity to connect with new clients from a wealth of regions, most notably across Europe and the United States. We have seen activity throughout the fair and confidence in the market, across a range of price points, from both private and institutional clients.”
Alexandre Gabriel, Founder, Fortes D’Aloia & Gabriel (São Paulo, Rio de Janeiro)
“We’ve had a tremendously successful fair, placing works with new collectors from the UK, Vietnam, and France, as well as with major U.S. institutions. Our decision to bring bold, unconventional works—those that defy market trends—truly paid off. It’s encouraging to see the market gaining upward momentum again here at Basel.”
Stephen Friedman, Founder, Stephen Friedman Gallery (New York, London)
“We’ve had a tremendously successful fair, placing works with new collectors from the UK, Vietnam, and France, as well as with major U.S. institutions. Our decision to bring bold, unconventional works—those that defy market trends—truly paid off. It’s encouraging to see the market gaining upward momentum again here at Basel.”
Stephen Friedman, Founder, Stephen Friedman Gallery (New York, London)
“The fair is absolutely full of energy — so vibrant and vivid. We’ve had the pleasure of meeting so many wonderful collectors, curators, critics, and galleries, all deeply engaged with art and all of Masanori Tomita’s works were sold. As first-time participants, we feel incredibly appreciative and grateful to be here. It’s truly been an amazing experience!”
Kayoko Yuki, Owner and Director, KAYOKOYUKI
“We suspected that the energy to collect was returning—we’ve felt it since the beginning of this year, and we could feel it at our Art Basel Hong Kong booth. Everyone misread the auctions in May, which were full of positive signals. When it came to Basel, they said, ‘the Americans aren’t coming’ and ‘the hotels aren’t full’… well, we could barely move our booth, and the velocity of the sales has been as vigorous as any year in the past. It has been confirmed that the energy to collect has returned.”
Marc Glimcher, CEO, Pace Gallery (New York, Hong Kong, Seoul, Geneva, London, Los Angeles)
“It’s been one of our best years at Art Basel ever. Our presentation is a great representation of the mix and range of our program, and we’ve seen an outstanding reception and sales across the board. Collectors are continuing to be thoughtful about their acquisitions but are also responding to quality.”
Max Falkenstein, Senior Partner, Gladstone Gallery (New York, Brussels, Rome, Seoul)
“We’re thrilled to make our debut at Art Basel in Switzerland this year with solo presentations of American artist Lonnie Holley’s work across both Unlimited and the new Premiere section. It was a fantastic opportunity to showcase the full breadth of Holley’s practice – from sculpture and painting to film – to a wider international audience.
The response on the opening days was overwhelmingly positive. We’re pleased to have placed all the works within our Premiere booth on the first day of the fair, and it’s exciting to see strong responses from institutions and collectors across Europe, the USA and Asia.
Participating in our first Art Basel in Switzerland marks a significant milestone for the gallery. This fair provides the platform to engage deeply committed collectors, curators, and peers, and we’re proud to present Lonnie Holley’s work on this important global stage.”
Jeremy Epstein, Co-Founder and Director, Edel Assanti (London)
“We came in very cautiously optimistic, so we are pleased to say that Art Basel has once again proven its relevance and consistency and has delivered in terms of sales.”
Massimo De Carlo, Founder, MASSIMODECARLO (Milan, London, Hong Kong, Paris)
“We’ve had a great week here in our first showing at Art Basel. Joyce Joumaa was awarded the Baloise Prize, and we secured multiple museum placements while initiating new dialogues with numerous top curators and institutions. Statements has been a game changer for our gallery (we are less than three years old) and we were grateful for this opportunity to bring this ambitious and powerful work by Joyce Joumaa to a global audience in Basel.”
Eli Kerr, Founder, Galerie Eli Kerr (Montreal)
“We had an excellent Art Basel fair this year with many strong sales to prominent US and European collections, with a flurry of activity and sales secured from the early hours. Collectors were well-informed, engaged and knew what they wanted. We made the conscious decision to bring challenging and uncompromising works by our artists—a strategy which resonated with the fair audience across the spectrum. Against the backdrop of a slightly softer market across the first half of the year, we were thrilled to see the tide turning and signs of confidence and recovery. Art Basel attracts the top international collectors, and this year was no exception.”
Monika Sprüth and Philomene Magers, Co-owners, Sprüth Magers (Berlin, London, Los Angeles, New York)
We are so thrilled to have won The Baloise Art Prize with Rhea Dillon’s presentation. We found the energy of the fair to be exciting and inquisitive.
Antonia Marsh, Founder, Soft Opening (London)
“We were very pleased by the quality of artwork created by our artists who made specific work for the fair, including Genesis Belanger, Mr. Hernan Bas, Izumi Kato, among others. We once again had a large booth this year, which allowed us to present our artists in a way that no other fair allows. Our three-level booth enabled us to showcase eight solo shows and more than 30 artists.”
Emmanuel Perrotin, Owner, Perrotin Gallery (Paris, Hong Kong, London, Los Angeles, New York, Seoul, Shanghai, Tokyo)
“We were thrilled to be back in Basel connecting with European and Asian collectors and curators. The positive and supportive energy at the fair has made the week a big success.”
Lisa Spellman, Founder, Director, 303 Gallery (New York)
“Art Basel once again proved a vital platform for connecting galleries, collectors, artists, and institutions. Strong curatorial interest and the acquisition of works by Antonis Donef and Giorgos Ioannou by major collections and museums highlight both the fair’s impact and the growing significance of their work.”
Arsen Kalfayan, Gallery Owner, Kalfayan Galleries (Athens)
“Art Basel proved robust despite the current global climate and remains our most important fair.”
Sten Nordenhake, Director, Galerie Nordenhake (Berlin, Stockholm, Mexico City)
Herald St enjoyed a wonderful return to Art Basel. Featuring many new works created specifically for the fair, our group presentation – which also includes a special focus on the late Greek artist Alekos Fassianos as part of Kabinett – was met with a particularly enthusiastic response from collectors and institutions in attendance.
Nicky Verber, Owner, Herald St (London)
“Art Basel is always the highlight of our year, and this edition has been no exception. The fair has kicked off with great energy and enthusiasm—we’re especially thrilled by the response to the new artists we’ve introduced this year, selling works by Lindsay Adams and Ana Gonzalez, amongst others. We’ve also placed works by Julian Charrière, who is currently the subject of a major exhibition at the Museum Tinguely. It’s enormously rewarding to see works by our artists resonate so strongly at this, the world’s premier international art fair.”
Sean Kelly, Owner, Sean Kelly Gallery (New York, Los Angeles)
“Art Basel is the epicentre of the global art world. We have curated a selection of artists whose practices are marked by major institutional exhibitions taking place around the world. To see artists such as Thierry De Cordier, Tracey Emin, Tatiana Trouvé, Danh Vō, and Charline von Heyl resonate so strongly on the opening day, and to witness such swift and important placements, confirms Art Basel’s unique status as the place where the most significant commitments happen.”
Xavier Hufkens, Owner and Founder, Xavier Hufkens (Brussels)
“We’ve had an active time at the fair, despite the challenging circumstances around the world. The art market is by no means immune to these challenges, but it is resilient. A high-calibre of serious collectors and curators showed up, mainly from the European region, as well as from the Middle East and China. We’ve placed several works in the six-figure range by artists who have institutional shows in Europe.”
Rachel Lehmann, Co-founder, Lehmann Maupin (New York, Seoul, London)
“This year’s Art Basel has been a great success for the gallery. Marinella Senatore’s monumental work We Rise By Lifting Others in the Unlimited sector has drawn significant attention, translating into multiple sales of her golden collages and neon works in the Galleries sector. We’ve also placed several works by Salvo, and there’s been considerable interest in pieces by Agostino Bonalumi and Fausto Melotti. The energy at the fair has been vibrant—collectors are incredibly engaged, and the atmosphere feels optimistic and forward-looking.”
Davide Mazzoleni, Gallerist, Mazzoleni (Turin, London)
“We’re delighted to have sold works by our long-established artists, including a major Hockney oil, alongside works by new voices such as Sammi Lynch, who only joined the gallery last month. It’s an important reflection of our programme and its resonance at Art Basel.”
Holly Braine, Director of Sales, Annely Juda Fine Art (London)
“Bringing new voices into the fold at this year’s Art Basel, like Salim Green and Wynnie Mynerva, was an exciting step for us. The response was immediate and enthusiastic.” Daniel Wichelhaus, CEO, SOCIÉTÉ (Berlin)
“In today’s world full of contradictions and conflicts, when we are living through times of turbulent geopolitics, the gathering of art has become ever more precious — an experience that is distinct and transcendent. The power of Art Basel in bringing together art from around the world stands in sharp contrast to our troubling times and unites us all. Here, the business of art is not just business — it is also an act of cultural sharing.”
Leng Lin, Founder, Beijing Commune (Beijing)
“At this year’s Art Basel, we presented a more comprehensive group exhibition with distinct intergenerational characteristics, including some of the more well-known artists in China who have already gained significant recognition in Europe. As a result, we have been able to connect both the works of established masters and emerging artists with suitable collectors. Notably, the young artists we are showcasing this time have also attracted attention from collectors in Europe who have shown a high level of understanding and appreciation for the themes expressed in their works.”
Sequin Ou, Senior Director, ShangART (Shanghai, Beijing, Singapore)
“We were delighted to participate in Art Basel and Art Basel Unlimited 2025. The fair offers a unique opportunity to present ambitious projects. This year, we presented Das Mechanische Ballett (1966, restored in 2015), an installation by German artist Heinz Mack, in the Unlimited section. The gallery is committed to supporting innovative voices, and Art Basel remains an essential meeting point for the art world. We welcomed many collectors from America, Asia, and Europe.”
Almine Rech, Owner, Almine Rech Gallery (Paris, Brussels, London, New York, Shanghai)
“In the midst of a year marked by political and economic uncertainty, this edition of Basel is reassuring thanks to the dynamism of collectors, particularly European ones. We saw a curiosity and enthusiasm for all of our presented artists that we missed at the beginning of the year.”
Alix Dionot-Morani, Co-founder, Crèvecœur Gallery (Paris)
“The key word is resilience. Despite a complex international context and tensions that are making the market more cautious, it is reassuring to see that collectors showed up and continued to actively support the galleries.”
Alex Mor, Co-founder, Mor Charpentier Gallery (Paris, Bogotá)
“Despite global concerns over an economic downturn, Kukje Gallery achieved strong sales at this year’s Art Basel. Collectors from Europe, the U.S., and Korea who visited the fair expressed that, despite the growing prominence of Art Basel Paris, there is still something uniquely special about the experience in Basel. There was also a clear and growing interest in Korean art and artists. Works by leading Korean artists presented at our booth led to successful sales. These results reaffirm the distinctive qualities and strengths of Korean art in the global market. We always look forward to returning to Art Basel, and we are excited to see how next year’s edition will once again encapsulate the broader movements and trends shaping the international art world.”
Hyun-Sook Lee, Founder and Chairwoman, Kukje Gallery (Busan, Seoul)
“We built the booth to reflect the core of our program of artists who challenge form and meaning, often in ways that only reveal themselves over time. The response to Kimiyo Mishima and Robert Colescott in particular shows a growing appreciation for practices that aren’t easy but that are both formally rigorous and historically significant.”
Tim Blum, Founder, BLUM (Los Angeles, Tokyo, New York)
Outside the fairgrounds, Basel itself offered a museum-quality spread of exhibitions and programming. The Fondation Beyeler presented Vija Celmins and Jordan Wolfson, while Kunstmuseum Basel mounted major shows on Medardo Rosso and a themed group show titled Verso. Kunsthalle Basel featured solo presentations by Dala Nasser, Ser Serpas, and Marie Matusz. At Schaulager, Steve McQueen unveiled a powerful, site-specific installation. The Vitra Design Museum contributed to the citywide cultural immersion, while Liste Art Fair Basel celebrated its 30th anniversary with a typically energetic display of emerging voices. Basel Social Club, in its fourth edition, took over a decommissioned bank building and turned it into a sprawling multi-room, multi-disciplinary wonderland.
As the final day came to a close, Art Basel once again proved its dual function: a barometer for the global art market and a catalyst for contemporary cultural dialogue. The mood on the ground was confident but not complacent, with a widespread sense that the art world, like the fair itself, continues to evolve—expanding its reach, refining its vision, and redefining what an art fair can be. The next edition is scheduled for June 18–21, 2026, with preview days on June 16 and 17.
This Article Will Be Updated with a complete list of dealers’ comments. Please return…
