As it opens its 70th edition, BRAFA sits among Europe’s longest-running and most eclectic art fairs. Rooted in Old Masters and antiquities, the fair’s longevity is a testament to its evolution: Over the decades, it has grown to showcase some 20 categories across modern and contemporary art and design in the Belgian capital.
But as well as acknowledging its storied history, this year’s edition of the fair is looking to the future, placing a focus on attracting younger collectors and nurturing a new generation of dealers.
Taking place at the sleek Brussels EXPO center, this year’s iteration of the fair features more than 130 galleries from 15 countries, maintaining its scale compared to last year. As the VIP day unfolded on Thursday, the atmosphere was both sophisticated and lively, with throngs of dealers, curators, and collectors engaging in dynamic exchanges throughout the day.
BRAFA’s DNA has always been defined by its diversity, with curated booths offering an exceptional range of works. Presentations here span Old Master paintings to contemporary design, through to silverware and jewelry. While many fairs lean into specific niches, BRAFA thrives on its variety while remaining true to its regional standing. “You’ll see works and artists here—particularly Belgian and Northern European ones—that you might not encounter in London, Paris, or New York. This regional focus sets BRAFA apart,” said a spokesperson for the fair.
This year, the fair’s commitment to art history in all its breadth remains strong. Many exhibiting galleries have adapted their presentations to bring in more contemporary elements over the years, such as Geneva gallery De Jonckheere, which blends historical paintings with contemporary pieces. Works by Frans Francken II, for instance, are juxtaposed with those of Lucio Fontana, to create a dialogue in the booth that resonates with varied tastes. Similarly, Carlo Repetto, the owner of Repetto Gallery in Lugano, Switzerland, spoke of bridging artistic periods by presenting works by Fontana and Fausto Melotti, which he described as “classical yet timeless,” appealing to audiences with an appreciation for both modern and traditional aesthetics.
Cavallino blu, ca. 1955
Fausto Melotti
Repetto Gallery
Corrida, 1950
Lucio Fontana
Repetto Gallery
Templon, which is making its debut at the fair, also aims to create connections between periods with a solo booth of works by 83-year-old French post-war artist François Rouan. “This choice connects the modern and contemporary worlds,” said Raphael Sachsenberg, director of the Brussels gallery. The works are priced between €25,000 ($26,270) and €250,000 ($262,700).
Much of the growing variation at the fair can be attributed to a broader market shift, noted Boris Vervoordt of Antwerp stalwart Axel Vervoordt Gallery, which is presenting a mixed booth of Belgian and international artists such as Jef Verheyen and Pierre Culot. “Fairs today are becoming less about purely commercial transactions and more about conveying knowledge and offering a learning experience for both audiences and professionals,” he told Artsy. “In many ways, fairs are evolving into symposium-like settings, rather than just marketplaces.”
One way this is evident is in the fair’s growing emphasis on education and connoisseurship, which has become a staple of its programming. BRAFA’s 2025 slate includes a collaboration with KIK-IRPA (Royal Institute for Cultural Heritage) which offers interactive workshops on art conservation. Guided walkthroughs, newly introduced tours for children, and talks provide varied insights into the fair’s offerings.
The fair is also placing a significant focus on the engagement of younger collectors and the support of emerging dealers. The introduction of the shared booth “Selected by BRAFA, designed by Gert Voorjans’” for five young dealers, curated by Belgian interior designer Gert Voorjans, highlights the fair’s approach to nurturing emerging talent. Local dealer Jonathan Kugel, a first-time participant in the initiative, praised the fair’s efforts. “BRAFA has created an environment where younger dealers feel valued and encouraged to contribute, which is key to the fair’s long-term success,” he said. At the booth, he is presenting works by Dutch sculptor Carolein Smit.
This generational dynamic permeates the fair, where a focus on breadth is prominent. “Younger dealers naturally attract younger collectors,” said Brussels-based jeweler Sophie Derom, who is also exhibiting in the shared booth. “It’s very much a cycle—we share our vision and engage with people our age.”
In addition to including younger dealers, many of the more established galleries at the fair are seeking to articulate their programs to cater to a wider audience group. One such example is Paris’s Galerie Dina Vierny, which presents a standout booth of works by 20th-century names such as Henri Matisse, Fernand Léger and living artists including Ra’anan Levy. “We decided to maintain the spirit and legacy of the artists our grandmother defended while evolving the gallery’s direction to include new artists for a modern generation,” said gallery director Pierre Lorquin.
Le perroquet or Le pigeon, 1950
Fernand Léger
Galerie Dina Vierny
Portes, 2014
Ra'anan Levy
Galerie Dina Vierny
Indeed, while the median age of collectors at BRAFA remains higher compared to more contemporary-focused events, many note a palpable shift in the fair’s demographics. Recent Old Master auctions have shown surprising resilience, and many dealers note that younger collectors are showing an increased interest in the category, drawn by the works’ undervalued status and the opportunity to pair them with contemporary works in their collections.
“Young collectors today have more eclectic tastes—they might buy contemporary or modern art and pair it with an African sculpture or an Old Master painting,” noted Klaas Muller, chairman of BRAFA and owner of his eponymous gallery.
This openness is reflected in how booths are presented, with a noticeable emphasis on modern display techniques. Beatrix Bourdon, the fair’s managing director, highlights that galleries are working to make works more accessible and engaging. “Dealers engage with collectors in a way that removes the notion of Old Masters being ‘old-fashioned,’ instead emphasizing their timeless appeal,” she explained. Bourdon also points to BRAFA’s educational initiatives, such as the newly introduced guided visits for children, as part of the effort to foster curiosity in the next generation. “These visits are aimed at helping children discover and engage with art at an early age,” she said “It’s important to show how Old Masters can resonate even in a contemporary context.”
But the fair is also sensitive to challenges that newer collectors face when looking at more historical categories such as Old Masters. “Building the knowledge required for Old Masters takes time,” said Tobias Desmet, the fair’s general secretary. “It’s a more complex field compared to contemporary art, with higher standards for quality, conservation, and authenticity,” he said. That’s why we encourage younger collectors to focus on learning first.”
Despite its international appeal and influence, BRAFA remains deeply tied to its European roots. The fair’s collector base mirrors the region’s unique characteristics: thoughtful connoisseurs who often approach buying as a multigenerational activity. The enduring influence of these local collecting traditions is evident in the participation of longstanding exhibitors like Axel Vervoordt Gallery. “In Belgium, collecting is a passion across all age groups, from young adults to older generations,” said Boris Vervoordt. “At a fair like BRAFA, we encounter clients of all ages, reflecting this broad demographic interest.” As it enters its eighth decade, those demographics will be crucial as the fair continues to evolve.
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