5 Artists on Our Radar This April https://ift.tt/cBTxDtg

Together, apart, 2025
Diane Chappalley
Megan Mulrooney

“Artists on Our Radar” is a monthly series focused on five artists who have our attention. Utilizing our art expertise and Artsy data, we’ve determined which artists made an impact this past month through new gallery representation, exhibitions, auctions, art fairs, or fresh works on Artsy.

Sylvia Fernández

B. 1978, Lima. Lives and works in Lima.

Belong to Nature I, 2025
Sylvia Fernandez
David B. Smith Gallery

Midnight flower, 2025
Sylvia Fernandez
David B. Smith Gallery

Peruvian artist Sylvia Fernández paints the natural world with a keen attention to its majesty. She focuses on intricate details, zooming in on water droplets and wilting plants. These compositions take on a surreal, almost otherworldly quality. A selection of these canvases is on view in “The Illusion of Paradise,” her solo show at Denver’s David B. Smith Gallery, through April 18th.

Many of Fernández’s luscious paintings feature a feminine shadow. Belong to Nature I (2025), for example, portrays an emerald-green plant shimmering in the rain and darkened by a woman’s silhouette. Here, the artist creates a self-portrait that underscores her watchful relationship with her natural subjects. Meanwhile, other works focus exclusively on striking ecological beauty. Fernández captures a wilting Midnight flower (2025), contorted under the glowing moonlight. And from a greater distance, in Paradise Memory I (2025), she depicts a lavish grove through a thick brush.

Before relocating from Peru to San Diego in 2022, Fernández studied fine art at the Escuela Superior de Arte Corriente Alterna. Her most recent solo shows have been staged by San Diego’s Oolong Gallery in 2024, Asheville, Tennessee's Tyger Tyger Gallery in 2023, Lima’s Galería del Paseo in 2021, and Mexico City’s Salón Acme in 2020.

Linus Borgo

B. 1995, Stamford, Connecticut. Lives and works in New York City.

Mirror Box, 2025
Linus Borgo
Yossi Milo Gallery

Backslide, 2024
Linus Borgo
Yossi Milo Gallery

Linus Borgo’s paintings are informed by a near-death experience. At 18, Borgo suffered a devastating electrical shock from a generator that discharged 11,000 volts. Though he survived the incident, it necessitated the amputation of his left hand. This event, coupled with his lived experience as a transgender man, fundamentally informs a practice that deals with the pleasures and discomforts of embodied experience. Some of these works are on view in his solo show at New York’s Yossi Milo Gallery, “Into the Blue Again,” through April 25th.

Cavity Sam (2025), for instance, is a self-portrait based on the popular “Operation” board game. It features a shirtless Borgo with dissected sections, labeled with titles such as “funny bone” or “knot in stomach.” The portrait also shows the artist’s “phantom limb,” a disembodied arm beneath his left arm. Not all of Borgo’s works are as direct. Many of his paintings depict quieter scenes, characterized by intentional staging and precise lighting. In The Impossibility of Unlearning (2026), a figure stands over a seated figure who holds his head in his hands, as if receiving difficult news.

Borgo earned a bachelor’s from Rhode Island School of Design in 2018 and a master’s from Columbia University in New York in 2022. Steve Turner, in Los Angeles, mounted his debut solo show, “I’ll Grow Back Like a Starfish,” in 2022.

Christian Franzen

B. 1994, Long Beach, California. Lives and works in Los Angeles.

Things That Aren't Here Anymore, 2025
Christian Franzen
Uffner & Liu

Golden vistas of Southern California gleam from the canvases of Los Angeles artist Christian Franzen. The 32-year-old painter sources his scenes from a massive archive of his own photographs, which form studies of how light reflects off the Pacific Ocean. A series of these paintings appears in his debut New York solo show at Uffner & Liu, titled “SHIFTY” and on view through May 9th.

Franzen’s paintings are a love letter to the Californian horizon, much like those of his fellow Angelino, Sayre Gomez. The artist layers, glazes, and airbrushes acrylic on linen to capture the gradients of the sunlight against the skyline. Things That Aren’t Here Anymore (2025), for instance, features subtle oranges as the sun clashes with a cloudy dusk sky. In other artworks, Franzen depicts uncanny encounters with animals. In Black Cat (2024), a phantom cat with piercing white eyes barely registers against a nighttime backdrop. These paintings, though vastly different in subject matter, are connected by the artist’s attention to gesture and light as he manipulates paint to create strange and mesmerizing shadows.

Franzen earned his BFA from California State University, Long Beach, in 2018. He has presented solo shows with London’s Glasshouse and Los Angeles–based galleries in lieu and OWO.

Diane Chappalley

B. 1991, Switzerland. Lives and works in London.

La danse, 2025
Diane Chappalley
Megan Mulrooney

Anxious Flowers III, 2025
Diane Chappalley
Megan Mulrooney

Diane Chappalley channels the Swiss mysticism from her region, rooted in esotericism and spirituality connected to the natural world, as she creates fantastical paintings and charged sculptures. Her works consistently depict feminine figures, often painted in neutral colors, in moments of spiritual encounter. Dense floral forms often cover their bodies and serve as a backdrop as they dance or meditate.

La Danse (2025), for example, features three women prancing across a field of blooms that sprout from a deep red backdrop. Below them, a blurred, spectral shape suggests a link to a spiritual realm. Chappalley similarly channels her mystical sensibility into sculptures, including her “Anxious Flowers” series. Anxious Flowers III (2025), a glazed stoneware of a dying flower with a bright red bulb, resembles a sacred totem more than a dying organic form. Later this year, new works will be the subject of a digital solo show with Taymour Grahne Projects.

Chappalley graduated with a master’s in fine art from the University College London in 2017. She most recently presented “What Holds Us” at Megan Mulrooney in Los Angeles in 2025. Other solo shows have been staged by Taymour Grahne Projects and Lychee One Gallery (both in London), and Oxfordshire, England’s Informality Gallery.

Omyo Cho

B. 1984, Seoul. Lives and works in Seoul.

Nudi Hallucination, 2022
Omyo Cho
Wooson Gallery

Omyo Cho’s sculptures are largely inspired by science fiction, which Cho herself writes. She has penned novels, including Memory Searcher and In An Unwritten Song, motivated by conversations with biologists and neuroscientists. The artist transforms elements of these post-humanist narratives into sleek objects that evoke engineered lifeforms.

Such works unite metal tendrils (made of brass, steel, silver, and nickel, for example) with bulges of glass. Nudi Hallucination (2024), for instance, takes its name from one of the artist’s novels and features an alien form with stainless steel legs, topped with a brain-like bulb. Motifs Sent by the Future: Ripples from Afar (2025), with its swollen center and spindly metal stems sprouting from the core, resembles a cast of an otherworldly organ.

Rather than thinking about these forms as strictly alien, Cho believes science fiction is a way to talk about the future in an optimistic way. “My work is an exploration of the new possibilities that might emerge from a shattered reality,” she told USIA Review Magazine. Foundry Seoul is currently showing a series of Cho’s sculptures as part of Artsy’s online showcase, Women-Led Galleries Now.

After completing a bachelor’s degree at the University of London, Cho returned to Seoul. In Korea, she presented solo exhibitions at N/A, TEMI, Soorim Cube, and BUAM Art in 2019, 2021, 2023, and 2024, respectively. Many of Cho’s works have appeared at art fairs in recent years: Wooson Gallery brought a selection to Art Basel Hong Kong, and Foundry Seoul presented works at NADA Miami, both in 2025.

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Centre Pompidou Hanwha to open its Seoul space in June 2026. https://ift.tt/cE1A0vV

The Centre Pompidou Hanwha will open in Seoul this June after three years of construction. The museum, spanning 10,000 square meters across four floors, will be located inside the 63 Building in Yeouido, the Korean capital’s finance and media district.

A press release distributed by the museum explained that the building, which once housed an aquarium, has been reconfigured to become a “a true ‘box of light.’” Each floor of the museum will be cast in natural light during the day and take in the city lights at night. The museum has leased the space on a four-year renewable contract.

For its first four years, the museum will stage two exhibitions annually that tap into Centre Pompidou’s collection in Paris. Meanwhile, another series of exhibitions will focus exclusively on contemporary Korean artists. By pairing these parallel exhibition schedules, the museum intends to foster international connections between the European and Korean art worlds.

The inaugural exhibition, “The Cubists: Inventing Modern Vision,” will open on June 4th. Some of the featured artists include Pablo Picasso, Wassily Kandinsky, Henri Matisse, and Marc Chagall. In line with its exhibition program structure, the museum will simultaneously host the “Korea Focus” section, which will draw connections between Western Cubism and Korean art.

Despite the Centre Pompidou’s closure for renovations from 2025 to 20230, the museum has recently ramped up its international collaborations. It now runs museums in Malagá, Spain, and Shanghai, the latter of which is on a five-year renewable collaboration. Meanwhile, the Centre Pompidou Francilien—Fabrique de l’Art will also open later this year in Massy, a suburb of Paris. The space which opens in Autumn is designed as a conservation center and a “model for innovative arts institutions.

“A museum cannot be summed up by the building that houses it, but is embodied by a spirit, a set of values and expertise that can be shared worldwide,” Laurent Le Bon, president of Centre Pompidou, told The Korea Heraldin March.

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German artist Thomas Zipp, who explored the dark side of humanity, dies at 60. https://ift.tt/3d7VHbX

German artist Thomas Zipp, known for his uncanny artworks that explored history with a punk attitude, has died at 60. Berlin-based Galerie Barbara Thumm, who represented the artist, confirmed his passing on Instagram on April 4th. “It is with a heavy heart and great sadness that we say goodbye to Thomas Zipp, who left us far too soon yesterday,” the post read.

Zipp is perhaps best known for his massive, theatrical installations, often focused on the dark side of humanity. These scenographic artworks blur the line between stage set and psychological landscape, unfolding as immersive environments that channel themes of control, violence, and historical memory. Dadaism also informed Zipp’s work, which drew on absurdity, fragmentation, and anti-authoritarian gestures to destabilize meaning.

The artist was born in West Germany in 1966 and studied at the Städelschule in Frankfurt. He worked closely with German artist Thomas Bayrle, an influential figure known for his engagement with mass culture and systems of repetition. Zipp furthered his studies at the Slade School in London, from 1992 to 1998, and expanded his approach with drawing and installation.

Zipp’s paintings feature careworn palettes: his dark greens, burnt umbers, ash whites, and other austere tones feel weathered and deliberate. Grids frequently surface in the background, structuring the composition and emerging from his criticism of sociopolitical systems of control. Beneath this formal restraint, the work reads as pointed political and social commentary; the nuclear bomb was among the artist’s most consistent motifs.

Much of Zipp’s work also engaged directly with historical figures. Perhaps most of all, the artist grappled with the legacy of Otto Hahn, the scientist known as the “father of nuclear chemistry.” During a 2005 solo show at Madrid’s Galería Heinrich Ehrhardt, Zipp presented a series of sculptures, pictures, and collages related to the German physicist and future armageddon. This interest persisted and extended to the artist’s sculptures and installations, as in a 2006 solo exhibition at London’s Alison Jacques Gallery, where Zipp hung a large black balloon, evocative of a mushroom cloud, from the ceiling.

Zipp’s Comparative Investigation about the Disposition of the Width of a Circle (2013) was among the most talked about works at the 2013 Venice Biennale. This installation resembled a historical sanatorium, complete with clinical beds and washrooms. The artist embodied both the doctor and the patient, exploring themes of control and critiquing medical practices.

As a professor at the Universität der Künste Berlin, Zipp taught and made art until his death. Recent solo exhibitions include “Profondeville” at Galerie Barbara Thumm in 2025, “Society of the Spectacle” at Vienna’s Galerie Krinzinger in 2024, and “Response to Transient and Steady State Flickering Stimuli” at Berlin’s Galerie Guido W. Baudach in 2021.

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Why This Storied London Gallery Is Planning Its Future in Paris https://ift.tt/taUBY2q

Victor Custot is the first to say he is still learning from his father, Stéphane. But if succession at Waddington Custot is now formally underway, instinct does not seem to be the issue.

Long before the 32-year-old imagined a future in the art world, before the title of board director, before the Sotheby’s degree, and before the daily mechanics of gallery life, Victor had already made a sale.

Visiting Stéphane at Art Basel Miami Beach during a break from his life as a tech entrepreneur in Canada, a young Victor got talking with an American collector about a Barry Flanagan sculpture on the stand.

“Maybe because Victor has some charm, the collector kept talking to him,” Stéphane said fondly, on a video call from Hong Kong. “At the end of all that, Victor sold him the big Flanagan sculpture.”

It’s an origin story that feels fitting for a gallery like Waddington Custot: instinctive and threaded through with history. It is one of London’s most storied commercial galleries, a mainstay of Cork Street, the city’s iconic gallery row. Its roots stretch back to 1958, when the dealer Victor Waddington founded The Waddington Galleries with his son Leslie. Few London galleries can claim that kind of lineage. Fewer still have managed to carry it forward without losing their spark.

Now the gallery is entering another defining chapter. As Waddington Custot prepares to open a new space in Paris, it is also beginning a formal generational transition, with Victor Custot stepping into the business his father, Stéphane, helped define. The gallery is expanding its footprint just as it starts to test how legacy is carried forward.

How Waddington Custot became one of London’s most storied commercial galleries

The gallery’s current iteration, Waddington Custot, was formed in 2010 when Stéphane—already a formidable dealer and founder of the PAD design art fairs—joined forces with Leslie. Stéphane had been looking for a London space to expand his business; Leslie was looking for a partner. “It was an opportunity,” Stéphane said. “A great one.”

This meeting of minds sharpened the gallery’s identity. Leslie brought with him a programme shaped by iconic modern and post-war names—selling “[Pablo] Picasso, [Jean] Dubuffet, Peter Blake and Barry Flanagan,” Stéphane recalled. “I thought it was fantastic, because I was a modern dealer, so thanks to Leslie, I learned a lot about contemporary art.”

Site aléatoire avec 2 personnages 29 mars 1982, 1982
Jean Dubuffet
Waddington Custot

That exchange still defines the gallery today. After Leslie’s passing in 2015, Stéphane took full ownership, preserving the Waddington legacy while extending its international ambitions. The program has continued to offer a mix of modern and established contemporary art, treating the two categories as part of the same conversation.

Victor joined the family business in 2023, following Stéphane’s path to Sotheby’s for an MA degree in art business and immersing himself in everything from shipping to sales. He speaks deferentially about his place in the gallery. “My role is just to learn as much as I can,” he said. “I think you need to be very well-rounded.”

One of Stéphane’s main pieces of advice has been “to be very humble,” and Victor has taken it to heart. Asked how he hoped to make his mark on the gallery, he answered cautiously. His tastes are “quite classic for someone my age.” His focus for now is on realizing his father’s vision. And a new chapter is what the gallery is opening—literally—in Paris.

Waddington Custot’s Paris expansion

The Paris move was not, Stéphane notes, part of some master plan. But when gallerist Pascal Lansberg called to offer him first refusal of a “dream” space on Rue de Seine opposite La Palette—the legendary left bank café frequented by Paul Cézanne and Picasso—it was too good to turn down.

It will open this week with “The Nabi Shock,” a landmark exhibition devoted to a movement at the heart of the gallery’s expertise. It will bring together modernist painters including Pierre Bonnard, Maurice Denis, Paul Sérusier, and Édouard Vuillard, alongside contemporary artists such as Etel Adnan, Ian Davenport, Marcel Dzama, and Fabienne Verdier. “This is really the DNA of the gallery,” Stéphane said. “It shows how modern art influenced and still influences the young artist and the contemporary artist.”

A new chapter for the family business

Nijinski Five, 2005
Barry Flanagan
Waddington Custot

Indeterminate Line, 2023
Bernar Venet
Waddington Custot

While London remains its historical core and the gallery’s location in Dubai, opened in 2015, reflects Stéphane’s appetite for opportunity and his confidence in the Middle East (which he still maintains), Paris presents a renewed statement of intent.

One of Victor’s other immediate priorities is bringing a younger audience into the gallery through events, talks, and workshops. He talks about the central locations of the gallery’s spaces in London, Paris, and Dubai as crucial. “It is meant to be alive,” he said. He wants people to come not only to look, but to learn, to spend time, to enjoy themselves. “We should be one of the places that people want to come to learn and to have fun.”

Extending the gallery’s relevance without thinning out its seriousness may be Victor’s main task. It’s too early to see how the gallery will evolve as Victor grows into his role, but the shape of his trajectory is clear: a historical gallery opening into a new city at the moment its future is being formed.

“Let's see how long I will stay,” Victor said. “But right now, it looks like I want to be there for the very long term.”

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How to Take Great Photographs of Art, According to Artists https://ift.tt/4nBHhYw

In our age of ubiquitous information, visiting a gallery almost inevitably involves taking a photograph. Visitors lean in with their phones, framing paintings, sculptures, and installations (and sometimes other photographs) before moving on.

These small acts of preservation happen for many reasons. A show is finite; an image can retain the experience for longer, trigger memories when you’ve forgotten an artist’s name, act as a kind of virtual postcard, or help explain to someone else how it felt to encounter a once-in-a-lifetime exhibition.

Regardless, when we look back through those images, they tend not to capture what it felt like to stand in front of the artwork itself—the inspiration, awe, delight, or pure horror of seeing another’s creation.

We asked five photographers how they approach photographing artworks, and what they attempt to capture when they do.

1. Look for interesting details

The best photographs of artworks often begin with a simple question: Why did this work stop you?

For photographer Mohamed Hassan, photographing art isn’t about neutral documentation but retaining the experience of the encounter. “I’m less interested in a neutral reproduction and more interested in holding onto why it stopped me,” he told Artsy. Often, that response is tied to scale and intimacy: “When the artwork is small, I often feel an even stronger desire to photograph it. Small works feel more precious and intimate, and almost fragile. They require you to move closer, to slow down, to adjust your breathing. That closeness creates a private moment between you and the object.”

Rather than photographing everything, start there. What drew you in? What felt easily missed but deserving of attention? Your photograph can be a way of preserving that specific experience.

2. Get in close

Photographs can be a way of studying the artwork you’re capturing. Artist Ed Templeton, who produces paintings, photography, and drawings, often uses his phone as a tool for understanding how paintings are made: “As a painter, I might be working on something and can use the images. I shoot to dissect how a certain painter achieved something, how they used their materials and brushwork, and how it might inform me if I’m doing something similar,” he said. That curiosity often means “getting as close as the museum guards will let me.”

In this sense, a photograph becomes less a souvenir and more a reference—a way of building a visual archive. Templeton describes his approach as “practical,” even if he acknowledges the other impulse at play, which he admits to occasionally falling for: people photographing art “almost like a trophy or a celebrity, to prove that they were in the presence of a famous work.”

Being clear about what you’re looking for—detail, technique, composition—can shift how you frame the image.

3. Use the whole space

While some photos gain from capturing detail, other cropped images can flatten an artwork, stripping away what about the installation made the work impactful.

For Alexandra Gordienko, founder of MARFA Journal and a prolific photographer, context is crucial. She recalls Lisa Brice’s 2023 exhibition at Sadie Coles HQ in Bury Street, which featured just two paintings. “If you took a photograph and cropped it around the work, it would have looked like just another white space and the artwork,” she explained.

A wider shot, however, tells a different story—revealing “how sparsely the space was arranged, and how small the gallery was in relation to the artworks, how they sit in this historical building.” Sometimes the most meaningful photograph isn’t the closest one, but the one that captures how the work exists in space.

4. Notice (and accept) what you can’t photograph

Even the most careful photograph can’t reproduce the physical experience of encountering art. “Texture is hard to translate, and scale is sometimes hard to understand,” Templeton noted. For him, seeing Otto Dix’s monumental triptych The War (1932) in person was unexpectedly demystifying. “In close detail, some of the brushwork and the way the paint sat on the canvas was surprisingly simple,” he said. “It was very eye-opening.”

Photographer Martha Naranjo Sandoval recalls a similar shift when viewing a physical print of Graciela Iturbide’s La niña del peine (1980). Despite having seen the image depicting a girl with a comb many times, Sandoval had never noticed what lay beyond the doorway she stands in front of.

“The first time that I could see that something was happening behind the girl was when someone showed me a print,” she said. “It’s something so delicate and subtle that, if I had tried to photograph it on my phone, it wouldn’t have shown.”

Rather than seeing this as a failure, it’s worth embracing the gap; a photograph can’t fully preserve an artwork—it points back to an experience you can’t fully replicate.

5. Share what you love

Finally, it’s worth turning the question back on yourself. Artist Zora Sicher describes her phone as a tool for thinking through what she sees. “All I’m doing is making connections between different influences for myself.” Photographing becomes a way of processing—“feeling something about someone else’s brain,” and holding onto “the little piece of it that makes sense to me.”

At its simplest, the impulse is human, and a core part of Sicher’s practice: to share something that excites her with the world.

Rather than aiming for a perfect reproduction, it can be useful to think of your photograph as a response to what moved you.

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Basquiat’s most expensive work heads to Miami this June. https://ift.tt/S3Ux9pQ

The Pérez Art Museum Miami (PAMM) will present Jean-Michel Basquiat’s record-breaking Untitled (1982) as part of “Basquiat: Figures, Signs, Symbols.” The show opens on June 25th, during the FIFA World Cup, and will feature nine paintings and one sculpture by the artist.

“As Miami prepares to welcome a global audience for the FIFA World Cup, Pérez Art Museum Miami offers an extraordinary opportunity to experience visual art from across the Americas,” said collector Kenneth C. Griffin, CEO of Citadel LLC, who is loaning the works in the show. “I am proud to partner with PAMM to present some of the greatest works by one of America’s most iconic artists, Jean-Michel Basquiat, whose art has a unique power to connect across communities and generations.”

Untitled (1982) is an iconic example of Basquiat’s paintings of the human head. The canvas features a giant skull with intense red-and-white eyes against a blue background. It sold for $110.5 million at Sotheby’s in 2017, to Japanese billionaire Yusaku Maezawa, setting the artist’s auction record. At the time, it was the most expensive artwork by an American artist. Griffin is reported to have privately purchased the work from Maezawa for $200 million in 2024.

Other exhibition highlights include Untitled (Tenant) (1982), a portrait of a skeletal man throwing his arms up in discontent among burning city buildings, and In Italian (1982), a painting that features several human figures among enigmatic phrases such as “Diagram of the Heart Pumping Blood” and “Sangre Sangre.”

Megan Kincaid, curator of the Kenneth C. Griffin Collection, and PAMM director Franklin Sirmans are collaborating to curate the exhibition. Sirmans was previously involved in Basquiat’s posthumous 1992 retrospective at the Whitney Museum of American Art and in the Brooklyn Museum’s 2005 traveling exhibition of the artist’s work.

“This is a compelling moment to revisit Jean-Michel Basquiat not as a market phenomenon or pop icon, but as a rigorous, self-taught master of painting and form,” Sirmans said. “By bringing together works that are rarely seen in depth, we’re inviting audiences to slow down, to look closely, and to encounter a new way of understanding an artist whose name is universally known but whose complexity still demands deeper study.”

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Maurizio Cattelan launches a hotline to hear people confess their sins. https://ift.tt/2OqPKSY

Maurizio Cattelan, the Italian provocateur known for his art world stunts and pranks, is taking confessions from sinners in the United States. The Confessional, the artist’s latest performance artwork, asks the guilt-ridden to call a hotline and divulge their wrongdoings to the artist.

The hotline, which opened on April 2nd and can be dialed by anyone in the U.S. at +1 601-666-7466, will remain open through April 22nd. Cattelan will choose a number of confessions to be livestreamed on April 23rd, when the artist-as-priest will absolve these sins.

Cattelan’s performance ushers in the return of La Nona Ora (1999), a wax sculpture featuring Pope John Paul II reclining on a red carpet, his bottom half apparently smashed by a meteor. The title, which translates to “the ninth hour,” alludes to the death of Jesus Christ on the cross. London-based online platform Avant Arte has released a miniature version of the sculpture in an edition of 666.

“Catholicism is something you grow up inside, even if you try to step out of it. It’s belief, theater, control, comfort, all at once. I’m not trying to defend it or attack it,” Cattelan told the Guardian. “I’m interested in the images it produces and the tension they carry. If someone feels offended, it probably means the image is still alive.”

At first, Cattelan simply created a sculpture of the pope holding a crucifix. “When it was finished, and I stood in front of it, I felt as if something was missing, that the piece was not complete,” he told Sculpture magazine in 2005. “What it needed was very simple: It lacked drama and the capacity to convey the feeling of being in front of something extraordinary and powerful. It didn’t have the sense of failure and defeat.”

The original La Nona Ora certainly sparked that drama when Cattelan revealed the sculpture in 1999. In 2000, a pair of Polish politicians removed the meteorite from the sculpture while it was on display at the Zachęta National Gallery of Art in Warsaw. As with many of Cattelan’s works, the outcry and controversy created a lucrative buzz. It sold for $886,000 at Christie’s New York in 2001. Three years later, Phillips, de Pury & Company auctioned another version for $3 million.

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