Art Basel appoints Wassan Al-Khudhairi artistic director of 2027 Qatar fair. https://ift.tt/eN69o8Q

Art Basel has appointed Iraqi curator Wassan Al-Khudhairi as artistic director of the 2027 edition of Art Basel Qatar, the fair announced on Wednesday.

Al-Khudhairi will lead the curatorial direction of the fair’s second edition, working alongside Vincenzo de Bellis, Art Basel’s chief artistic officer and global director of fairs. Al-Khudhairi succeeds Egyptian artist Wael Shawky, who led the artistic vision for the fair’s inaugural edition, which debuted this past February. That edition featured some 87 galleries and was composed entirely of solo artist presentations under the theme “Becoming.”

Art Basel Qatar’s 2027 edition will take place from January 28th to 30th, with preview days on January 26th and 27th. Along with the appointment, the fair announced that its 2027 curatorial theme will be “between / بين” and will explore experiences of exchange, fluidity, and open-ended dialogue rather than fixed definitions.

Al-Khudhairi has deep ties to the region and previously served as the founding director of Mathaf: Arab Museum of Modern Art in Doha, where she oversaw the institution’s opening in 2010. During her tenure, she organized exhibitions including “Sajjil: A Century of Modern Art” and “Cai Guo-Qiang: Saraab.” Al-Khudhairi was also a member of the curatorial team for the 2025 Hawaii Triennial and served as the co-curator of the 6th Asian Art Biennial in Taiwan as well as the co-artistic director of the 9th Gwangju Biennale in South Korea.

In a statement, de Bellis said Al-Khudhairi’s regional expertise, coupled with her global networks, made her “exceptionally well” positioned to lead the fair into the next phase. “Her curatorial ambition is matched by a deep understanding of how art ecosystems develop — how institutions are built, how markets are nurtured, and how education and public engagement create the conditions for long-term growth,” he said.

Al-Khudhairi described Art Basel Qatar as “an exciting new model for what a curated fair can be.” The 2027 theme, she added, stemmed from “a curiosity about what becomes possible when a space is allowed to stay open.”

The second edition of Art Basel Qatar will continue the curated format introduced at the inaugural fair and will again take place across Doha Design District and M7 in Msheireb Downtown Doha. It will also expand its Special Projects sector with larger-scale immersive presentations, with details to be announced soon.

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10 Artists to Follow if You Like Iris van Herpen https://ift.tt/6HnbE9Q

The celebrated fashion designer Iris van Herpen combines centuries-old craftsmanship with cutting-edge technology to create awe-inspiring couture. In 2011, at just 27 years old, the Dutch designer received an invitation to join the Chambre Syndicale de la Haute Couture, the French regulating commission that determines if a fashion house is eligible to be a Haute Couture “maison.”

In the 15 years since, van Herpen has consistently pushed the bounds of what wearable art can be. She has experimented with 3D-printed garments and produced a “living” dress that, thanks to 125 million bioluminescent algae, emits light when it moves.

Van Herpen’s pieces are so inventive, in fact, that art and design museums have clamored to show them. In 2023, the couturier opened the first dedicated exhibition of her work at the Musée des Arts Décoratifs in Paris. Titled “Iris van Herpen: Sculpting the Senses,” the show offered a glimpse into the designer’s inspirations, which range from architecture to the deep sea and the cosmos.

The exhibition was a veritable cabinet of curiosities, chock full of natural specimens and works by contemporary artists and makers. These pieces, alongside van Herpen’s own avant-garde designs, conveyed her reverence for science, experimentation, and innovation. After traveling the globe, “Sculpting the Senses” has made its American debut. It opened earlier this month at the Brooklyn Museum in New York City, which is staging the largest iteration of the show thus far.

Channeling van Herpen’s interdisciplinary vision, we’ve selected 10 artists who evoke various aspects of her distinctive point of view. Some share her interest in cultivating symbiotic relationships between living and non-living forms. Others similarly focus on the intricate structures and movements of the natural world. Working in painting, sculpture, and installation, certain artists count themselves among van Herpen’s inspiring trove of collaborators, while others poetically reflect the couturier’s signature play with perception and light.

Anicka Yi

B. 1971, Seoul. Lives and works in New York City.

Vinegar Fissure, 2024
Anicka Yi
Esther Schipper

Post Classical V, 2025
Anicka Yi
Esther Schipper

Scientific research is at the core of Anicka Yi’s practice. Like van Herpen, the artist grapples with the boundaries between nature and the synthetic. Yi has said: “I seek to expand the possibilities of how we perceive ourselves and our place within the broader ecological framework….Through this lens, my art becomes a space for contemplating not only what was, but what could be, in the ongoing narrative of life on Earth.”

Yi treats her studio like a laboratory, collaborating with scientists and other specialists to bring her unorthodox visions to life. She has worked with volatile materials including yeast, fungi, bacteria, ants, and snails to make her installations, sculptures, and paintings.

This May at Storm King Art Center in New York’s Hudson Valley, Yi opened her first large-scale outdoor project, “Anicka Yi: Message from the Mud.” It offers a microbiological portrait of the landscape, with diverse colonies of algae, cyanobacteria, and microbes responding to sunlight and time.

Tara Donovan

B. 1969, New York City. Lives and works in New York City.

Untitled, 2017
Tara Donovan
Krakow Witkin Gallery

Stratagem IX, 2024
Tara Donovan
Pace Gallery

Tara Donovan is known for large-scale, often site-specific installations that transform accumulations of everyday objects (toothpicks, straws, CDs, etc.) into formidable sculptures. Like van Herpen, she privileges optical effects and intriguing surfaces, as well as forms that seem to have grown organically.

Given the clear visual parallels, it’s no surprise van Herpen selected Untitled (2009), a mylar and hot-glue sculpture by Donovan for the Brooklyn Museum exhibition. The sculpture, which evokes crystalline structures and unfamiliar vegetal forms, appears alongside van Herpen’s 2017 Aeriform dress: a gravity-defying, waterjet-cut, stainless-steel-and-tulle design, made with her longtime collaborator, the artist Philip Beesley.

Tomás Saraceno

B. 1973, Tucuman, Argentina. Lives and works in Berlin.

Stratus nebulosus niveus/M+I,, 2024
Tomás Saraceno
Galería RGR

Central to Tomás Saraceno’s practice is an abiding fascination with spiders. The artist’s floating sculptures and interactive installations harness impressive technological developments—for example, the first 3D-mapping technology for spider webs—as well as web sonification and signaling devices that reveal how spiders communicate through vibrational signals.

Saraceno shares a technological approach and reverence for the environment, as well as a love of spiders, with van Herpen. Her Brooklyn Museum exhibition includes a work by ECOLOGICSTUDIO (an architecture and design firm specializing in biotechnology for the built environment) that demonstrates how tarantulas’ webs change when responding to different 3D-printed environments.

Cindy Ji Hye Kim

B. 1990, Incheon, South Korea. Lives and works in New York City.

Days of Heaven, 2024
Cindy Ji Hye Kim
Casey Kaplan

The Sower and the Plough, Midnight, 2025
Cindy Ji Hye Kim
Casey Kaplan

Cindy Ji Hye Kim’s uncanny paintings feature unusual supports and a unique mélange of influences: scaffolding, medieval torture, and Korean folk arts, to name a few. The artist paints on translucent silk, which reveals the silhouettes of her intricately carved stretchers beneath. The layered effect creates a spectral quality reminiscent of van Herpen’s garments, which emit movement even when off the body. Both creators also use skeleton imagery, explore the passage of time, and incorporate architectural structures into their work. These elements enhance a sense of both literal and psychological depth.

Eva Jospin

B. 1975, Paris. Lives and works in Paris.

Niche colonnes, 2025
Eva Jospin
Suzanne Tarasieve

Bois Noir, 2025
Eva Jospin
GALLERIA CONTINUA

Eva Jospin and van Herpen both engage elements of architecture as they convey the magic of what the human hand can craft. Jospin works across media, though she’s perhaps best known for her meticulous sculptures: She carves into numerous layers of cardboard, transforming the utilitarian material into something fantastical. The artist further adorns these forms with threads, shells, and rocks, making them as charming as they are bewildering. Jospin often collaborates with the artisans of the Chanakya workshop and the Chanakya School of Craft in Mumbai, who use hundreds of shades of threads to turn Jospin’s drawings into enchanting embroideries.

Rogan Brown

B. 1966, London. Lives and works in Nîmes, France.

Ghost Coral Colour Variation, 2022
Rogan Brown
C Fine Art

Magic Circle, 2016
Rogan Brown
C Fine Art

Rogan Brown is among the van Herpen collaborators featured in “Sculpting the Senses.” The British sculptor takes inspiration from microscopic imagery, hand- and laser-cutting paper into mesmerizing works. Like van Herpen, Brown is awed by all that’s hidden from the human eye. As he describes on his website: “The act of cutting becomes a metaphor for revelation: a dissection of perception itself. A recurring theme in my work is the inherent tension between science’s drive to categorize and contain, and nature’s overwhelming complexity.”

For van Herpen’s 2021 “Earthrise” collection, the couturier partnered with Brown on a series of dresses constructed from layers of laser-cut Parley Ocean Plastic, which is upcycled from plastic found on beaches and in the ocean. The material evokes the intricacies of lace, in line with Brown’s kaleidoscopic paper-sculpture creations.

Keysook Geum

B. 1955, South Korea. Lives and works in Seoul.

Red Durumage , 2025
Keysook Geum
Callan Contemporary

Artist, designer, and educator Keysook Geum is the daughter of two ballet dancers. Like van Herpen, who also trained in classical ballet, her work is permeated by a sense of choreography and movement. Geum herself trained in textiles and fashion design. She now constructs twisted-wire and crystal sculptures that appear like weightless garments that are constantly in motion. The silhouettes pay homage to both haute couture and traditional Korean clothing. Additionally, they refer back to the threaded flower arrangements that Geum made as a child. The interaction of light and shadow in her pieces recalls van Herpen’s own ethereal gowns.

Gala Porras-Kim

B. 1984, Bogotá. Lives and works in Los Angeles and London.

1 Vitrine with 70 Religious Figures and Artefacts at Pitt Rivers Museum, 2025
Gala Porras-Kim
Sprüth Magers

Gala Porras-Kim is an interdisciplinary artist whose research-based practice focuses on the relationship between cultural artifacts and the conventions that govern their collection, conservation, display, and taxonomy. She is interested in how objects shape our understanding of history and has produced a long-running series of drawings of art and objects displayed on shelves.

On the surface, these detailed drawings resemble diverse cabinets of curiosities, conjuring the many disciplines that inspire van Herpen (a section in the exhibition is deliberately staged as a cabinet of curiosities). However, Porras-Kim and van Herpen share deeper connections in the way they engage the natural world. In the 2024 exhibition “A Hand in Nature” at the MCA Denver, Porras-Kim imagined how artworks would evolve if natural forces were granted creative agency.

Anne von Freyburg

B. 1979, Velp, Netherlands. Lives and works in London.

In Flight Mode (After Fragonard, The Swing), 2026
Anne von Freyburg
K Contemporary

Bubblelicious, 2020
Anne von Freyburg
K Contemporary

Like van Herpen, Anne von Freyburg studied fashion design at ArtEZ University of the Arts in the Netherlands. Despite her professional turn to fine art, a strong sense of dress remains in her practice. The artist paints with textiles, creating complex and dynamic images in patchworks of colorful fabrics.

Also like van Herpen, von Freyburg’s process combines technology with hand-stitching — she uses Photoshop to digitally manipulate images of Old Master paintings, abstracting them into dreamlike and psychedelic compositions that alter everything except what makes the original painting iconic: a subject’s facial expression, for example, or a work’s distinctive color palette. The creations of von Freyburg and van Herpen benefit from slow looking, which allows viewers to unpack their endless details.

Studio DRIFT

Established 2007. Based in Amsterdam.

Fragile Future FFC 3.8 Small Diamond, 2012
DRIFT
Carpenters Workshop Gallery

Fragile Future FF 3.17, 2021
DRIFT
Carpenters Workshop Gallery

Dutch artists Lonneke Gordijn and Ralph Nauta founded Studio DRIFT in 2007. The pair are known for their experiential sculptures, kinetic installations, and performances. Whether it’s their mechanized, “dancing” “Shylight” sculptures, which gracefully open and close as they move up and down, or their “Fragile Future” sculptures that combine dandelion seeds with LED lights into various geometric structures, Studio DRIFT bridges nature and technology in spellbinding ways.

Van Herpen collaborated with Studio DRIFT for her “Syntopia” fall/winter 2018 collection scenography, for which Studio DRIFT produced a large kinetic installation suspended above the runway. As models graced the catwalk, 20 glass wings, representing various steps of flying, hypnotically echoed their movements.

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Tina Kim Gallery announces representation of the estate of Kim Lim. https://ift.tt/iE6cajI

Tina Kim Gallery has announced U.S. representation of the estate of Kim Lim, the British Singaporean sculptor and printmaker. This June, the gallery will make its debut presentation of Lim’s work at Art Basel. A solo exhibition at Tina Kim Gallery will follow in New York, in spring 2027, marking the first solo presentation of Lim’s work in the United States. Axel Vervoordt Gallery will continue to represent the artist’s estate.

Born in Singapore in 1935 to Chinese parents, Lim spent much of her childhood in Malaysia. She moved to London in 1954, enrolling at Saint Martin’s School of Art, where she studied under the artist Anthony Caro. Later, she transferred to the Slade School of Fine Art, where she pursued both sculpture and printmaking, developing a multidisciplinary practice that would span four decades.

Untitled (wood ladder), 1973
Kim Lim
Tina Kim Gallery

Working in stone, wood, metal, and printmaking, Lim rooted her works in abstraction, seriality, and materiality. Her spare and elegant works are often associated with Minimalism. However they also explore the experience of rhythm, touch, and history. Lim’s extensive travels throughout Europe, East Asia, Southeast Asia, North Africa, and the Americas were also important cultural experiences, with Cycladic sculpture and ancient Chinese bronzes influencing her works.

In 1960, Lim married the sculptor William Turnbull, whom she’d met during her studies at the Slade. The couple were admirers of the Romanian sculptor and painter Constantin Brâncuși, whose emphasis on essential form had a lasting impact on Lim’s work. Her public debut came with the landmark 1961 exhibition “26 Young Sculptors” at London’s Institute of Contemporary Arts.

Ronin, 1963
Kim Lim
Tina Kim Gallery

Though she exhibited frequently, Lim never reached the stardom of some of her peers. In recent years, several significant museum exhibitions have brought new attention and deepened scholarship to her work. Major exhibitions have included “Kim Lim: The Space Between. A Retrospective” at the National Gallery Singapore in 2024, “Kim Lim: Space, Rhythm & Light” at the Hepworth Wakefield in 2023, and “Kim Lim: Water Rests, Stone Speaks” at UCCA Dune in China earlier this year.

“Kim Lim was doing something that the art world didn’t yet have the framework to fully absorb at the time: working from a genuinely global sensibility, across sculpture and printmaking, with a formal and conceptual rigor that stands up to anyone in her generation,” dealer Tina Kim said in a statement. “Lim is a crucial figure in that reassessment.”

Centaur I, 1963
Kim Lim
Tina Kim Gallery

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Jackson Pollock breaks auction record with $181 million painting. https://ift.tt/DFZPL2n

A Jackson Pollock painting sold for $181.2 million at Christie’s in New York on Monday night, smashing the previous auction record for the Abstract Expressionist artist by nearly three times. The evening sales, which also included new auction records for Mark Rothko and Constantin Brâncuși, realized more than $1 billion in a single evening for only the second time in auction history. All prices include fees.

The Pollock work, Number 7A (1948), came from the collection of the late Condé Nast chairman S.I. Newhouse and is now the fourth most expensive work ever sold at auction. More than three meters in length, the painting of black drips punctuated by flecks of red marks the moment where Pollock “frees himself from the shackles of conventional easel painting and produces one of the first truly abstract paintings in the history of art,” according to a statement from Christie’s.

The auction for the work took seven minutes of bidding in the room and by telephone in what observers described as a three-way contest. The previous auction record for Pollock was set in 2021 for Number 17 (1951), which sold for $62.1 million at Sotheby’s. Several of his works have changed hands privately at higher levels, reportedly up to around $200 million.

Number 7A was the most expensive work to sell in Masterpieces: The Private Collection of S.I. Newhouse, which brought in $631 million. Combined with Christie’s 20th-century evening sale, which followed and made $490.3 million, the night realized $1.12 billion across 97% of lots.

A second nine-figure result came from Brâncuși’s bronze Danaïde (ca. 1913), which sold for $107.6 million. This set a new record for the artist and is the second-highest price ever paid at auction for a sculpture (the highest price is the $141.3 paid for Alberto Giacometti’s L’Homme au doigt (1960) in 2010). Brâncuși’s previous auction record was $71.2 million, set in 2018.

The 20th-century evening sale was led by Rothko’s No.15 (Two Greens and Red Stripe) (1964), which sold to a phone bidder for $98.4 million. That price marks a new auction record for Rothko. Other records set included for Joan Miró, whose Portrait of Madame K (1924) sold for $53.5 million, and Alice Neel, whose Mother and Child (Nancy and Olivia) (1982) sold for $5.7 million.

The results were greeted by market professionals as a strong signal at the top end of the market. “Three works breaking the $100 million barrier at a single house in a single evening—the Rothko approaching $100 million, the Brâncuși at $107 million, and a fierce three-way bidding battle driving the Pollock towards the $200 million mark—is something we haven’t witnessed in years,” Philip Hoffman, founder of advisory firm The Fine Art Group, told Artsy. “This is a clear signal that serious capital remains deeply committed to the very finest works of art.”

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Nan Goldin will present major London exhibition at the Hayward in 2026. https://ift.tt/29wsAEQ

American artist and activist Nan Goldin will open a major show at London’s Hayward Gallery this fall, marking her first institutional presentation in the U.K. since 2002. Titled “You Never Did Anything Wrong,” the exhibition will run from November 24, 2026, through March 7, 2027. It will conclude the Southbank Centre’s 75th anniversary year.

Over the past 50 years, Goldin has become one of the most influential photographers of her generation. She’s known for her raw, intimate portraits of addiction, romance, grief, queer life, and friendship. Her diaristic approach to color photography has foregrounded emotional vulnerability.

The Hayward Gallery show will bring together important photographs and slideshow works spanning Goldin’s career. The artist has described her oeuvre as “a record of my life that no one can revise.” Her lens has frequently focused on her own life and her social circle. According to the Southbank Centre, this exhibition will explore Goldin’s evolving commitment to documenting these relationships and communities often excluded from mainstream representation.

This work is closely associated with the artist’s political activism. In recent years, she’s become an outspoken advocate for those affected by the opioid crisis.

“While U.K. audiences may have seen glimpses of Nan’s story, this major exhibition will offer a long overdue institutional-scale immersion into the world of a true revolutionary,” Rachel Thomas, the Hayward Gallery’s Roden Chief Curator, said in a statement. “The Hayward’s show extends an invitation to experience work that is essential for understanding the interconnectedness of personal experience and political action, revealing the human condition in all of its beauty and fragility.”

Mark Ball, the Southbank Centre’s Artistic Director, described Goldin as an artist who “reshaped the language of photography.”

“At the Hayward Gallery, we are thrilled to host her first major U.K. exhibition for over two decades with work that captures the soul of her practice,” Ball said. “To bring her radical vision to our Brutalist spaces is a moment of immense pride, offering our audiences an encounter with an artist who has never looked away.”

Goldin’s last U.K. institutional exhibition was “The Devil’s Playground,” a large-scale European traveling retrospective which opened at Whitechapel Gallery in 2002. In 2025, Goldin’s most famous series, “The Ballad of Sexual Dependency,” made its U.K. debut at Gagosian in London.

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Art Dubai’s 20th edition rallies its local art community amid regional tensions. https://ift.tt/chH3wD1

Art Dubai, the United Arab Emirates’ premier art fair, opened its 20th edition this past weekend with a scaled-down, regionally focused program after being postponed earlier this year due to the Iran–Israel war.

The fair, billed as a “Special Edition,” opened to VIP guests on May 14 at the Madinat Jumeirah resort and ran through May 17. For the first time, entry is free. Organizers have pared the lineup to 50 galleries—most from the region, including Abu Dhabi, Beirut, Jeddah, Ramallah, and Dubai—showing contemporary, modern, and digital work in a single hall.

The fair had been delayed after missile and drone attacks across the Gulf disrupted daily life beginning in late February, prompting gallery closures and travel restrictions in a region that functions as a major business and tourism hub. A ceasefire is currently in place.

“Our galleries, collectors, and partners have come together and really shown up,” said Dunja Gottweis, who was appointed director of Art Dubai in 2025. “Through the detailed conversations held with our partners and long-term stakeholders, it was evident that this was a moment for our community to come and to stand together.”

Gottweis said the response since the postponement had been “incredible,” adding that Dubai’s “entrepreneurial spirit” had shaped the fair's recovery.

Among the returning exhibitors is Dubai-based Ayyam Gallery, which specializes in contemporary Syrian art and is also marking its 20th anniversary this year. “For the first time in 20 years of Art Dubai and Ayyam Gallery, I feel a real sense of community and genuine collaborations that focus on the regional scene and the main players from our part of the world, rather than on Western approval,” said the gallery’s director, Maya Samawi. “The fair is smaller, but hopefully more impactful than ever.”

Ramallah’s Gallery One presented a solo booth by Palestinian artist Amjad Ghannam, making his Art Dubai debut with “This Is Not the Third World,” a series of paintings that draw on Pablo Picasso’s visual language to address political trauma in the Arab world. “I didn't know what to expect, and I was honestly pleasantly surprised with the audience's presence,” Ghannam said. “Thankfully, there were some good sales too.”

Gaza, 2025
Amjad Ghannam
Gallery One

Jeddah’s Hafez Gallery showed Lebanese artist Lana Khayat, whose booth features textured floral paintings and an installation of 1,000 handmade sculptural flowers made of wire, sponge, and patterned cloth. Khayat described the installation as a gift to the city. “It’s a city that has given me so much,” she said. “I felt with everything that's been happening, I needed to give something back.”

Beyond the gallery booths, the fair included onsite installations by Armenian-Syrian artist Kevork Mourad and Emirati artist Hashel Al Lamki, among others, alongside talks, book launches, and DJ sets. An institutional section featured roughly 20 works of modern Arab art from the Sharjah-based Barjeel Art Foundation.

Collectors said the smaller, regionally focused format had its advantages. Lebanese collector Charles Al Sidaoui, who has lived in Dubai for nearly 30 years, called the fair well-curated and easier to navigate than in previous years. "I think for the artists living in this region it was a blessing in disguise, because they were given more attention and focus," he said.

Al Sidaoui said the war had made buyers more cautious but had not dampened overall interest. “There is obviously some kind of uncertainty surrounding us, and we are being careful. Now, we're thinking twice before making an acquisition, especially if it’s of a certain price point. However, there is still interest in acquiring art,” he said. “People are so fed up with the situation, they need events like Art Dubai to come and enjoy their lives like they used to do in the past.”

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What Sold at Frieze New York 2026 https://ift.tt/2C1mWIt

Frieze New York 2026 closed on Sunday, May 17, capping its 15th edition and a packed New York Art Week of fairs, openings, and other festivities. This year’s edition featured 68 galleries from 25 countries.

Some 25,000 visitors passed through The Shed in Hudson Yards over the fair’s five-day run, which opened with a VIP preview last Wednesday that drew celebrities, art world luminaries, and a healthy clutch of sales.

“Frieze’s VIP day was as busy as one would expect—corridors were jammed, and dealers were hard to reach, as many conversations were taking place in the first few hours,” art advisor Matteo Baschirotti told Artsy, noting that “most” of the works he had his eye on had sold by the second day.

That momentum mirrored a broader bullishness across the city’s commercial art world. Auction houses are gearing up for a week of sales expected to total between $1.8 billion and $2.6 billion, and dealers at other fairs—whether focused on emerging art at Independent and NADA or blue-chip and historical works at TEFAF—reported similarly buoyant moods.

“The energy in New York is unbeatable, and we were glad to welcome not only our local collectors, but many international visitors who traveled specifically for the fair,” said Matthew Wood, co-founder of Mendes Wood DM.

Here is a breakdown of the sales reported by galleries at Frieze New York 2026.

Leading sales at Frieze New York 2026

White Cube led sales at the fair with two works by El Anatsui: LuwVor I (2025) for $2.2 million and MivEvi III (2025) for $1.9 million. Other works sold by the gallery included:

• Antony Gormley’s SET VII (2024) for £450,000 ($585,000).
• Howardena Pindell’s Deep Space #4 (2025) for $275,000.
• Marina Rheingantz’s Salvador (2026) for $250,000.
• Additional works by Marguerite Humeau, Sara Flores, Emmi Whitehorse, Danica Lundy, Louise Giovanelli, and Julie Curtiss were also placed during the week.

Thaddaeus Ropac reported sales for artists across its roster, led by Georg Baselitz’s Stunde der Nachtigall (2012) for €1.4 million ($1.54 million). Other sales reported included:

• Robert Rauschenberg’s Bob Song (Salvage) (1984) for $825,000.
• Alex Katz’s Black Roses 3 (2025) for $600,000.
• Baselitz’s Ohne Titel (2025) for €85,000 ($93,500).Additional works by Martha Jungwirth and Joan Snyder were also sold.

Phantom and A Map / poetry 05WBXS01V3, 2018-2024
Kyungah Ham
Kukje Gallery

Kukje Gallery led sales with a work by Ha Chong-hyun for a price in the range of $390,000 to $468,000. The gallery also reported the sale of the following:

• Works by Kibong Rhee, Kyungah Ham, Ugo Rondinone, and Julian Opie for prices between $60,094 and $108,000 apiece.
• Another work by Chong-hyun priced between $10,000 and $12,000.
• Sculptures by Gimhongsok and Jean-Michel Othoniel also sold.

Tina Kim Gallery’s sales were led by a painting by Ha Chong-hyun for $390,000. It also sold a second painting by the artist for $180,000 and reported additional sales, including:

• A Kim Tschang-Yeul painting in the range of $120,000 to $140,000.
• A painting by Kibong Rhee in the range of $120,000 to $130,000.
• Two textile works by Lee ShinJa, ranging from $90,000 to $100,000 and $40,000 to $50,000 apiece.
• Additional works by Maia Ruth Lee, Livien Yin, ShinJa, Suki Seokyeong Kang, Davide Balliano, Pio Abad, and Jane Yang D’Haene also sold at prices ranging from $20,000 to $80,000 apiece.

Almine Rech placed a major light work by James Turrell in the range of $900,000 to $1 million.

Pace Gallery sold “numerous” pieces from its dual presentation of works by Maya Lin and Leo Villareal, with prices in the range of $100,000 to $200,000 per work.

More sales reported at Frieze New York 2026

• Jenkins Johnson Gallery’s sales included a photograph by Gordon Parks for $80,000.
• Nara Roesler sold Marcelo Silveira’s Seeds VII (2025–26) for $45,000, alongside five works by Jonathas de Andrade ranging in price from $12,000 to $22,000.
• Southern Guild—one of Artsy’s best booths at the fair—placed numerous works by Lebohang Kganye, Amine El Gotaibi, Mmangaliso Nzuza, Patrick Bongoy, Usha Seejarim, and Chidy Wayne, with prices ranging from $20,000 to $38,000 per work.

Water Flowing I, 2026
Reika Takebayashi
Public Gallery

Stone Forming II, 2026
Reika Takebayashi
Public Gallery

• P420 sold a Francis Offman work for $20,000, Adelaide Cioni’s The Hand of M (2026) for $20,000, and two additional works for undisclosed prices.
• Gagosian reported sales for works by multiple artists, including Derrick Adams, Helen Frankenthaler, Gerhard Richter, Adriana Varejão, Stanley Whitney, and Francesca Woodman for undisclosed prices.
• In the Focus section dedicated to emerging galleries, Public Gallery sold out its presentation of works by Reika Takebayashi for undisclosed prices. The Baltimore Museum of Art acquired her work,Both Banks I (2026).

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Our 7 Favorite Artworks Under $10,000 from the 2026 New York Art Week Fairs https://ift.tt/MHczPuY

Never one to do things by halves, New York this week is playing host to more than 350 art fair booths across various venues in Manhattan.

The six fairs listed below form the spine of New York Art Week, when the city’s art scene comes alive with gallery openings, events, auctions, and enough programming to keep art lovers’ step counts—and calendar events—high.

With a higher concentration of fairs, galleries, and auctions than any other city, the lineup affirms New York’s status as the de facto capital of the art world. Each fair offers something distinct, too: Frieze brings the top end of contemporary art (read our rundown of the best booths from the fair here); NADA spotlights galleries and artists at the cutting edge; 1-54 foregrounds artists from Africa and its diaspora; TEFAF brings blue-chip panache; Independent hosts focused single-artist presentations aplenty; and Future Fair platforms a broad swath of newer names and dealers from the tri-state area.

Artsy’s editorial team has scoured them all to pick out seven of our choice works priced under $10,000.

NADA New York

Through May 17th

The Starrett-Lehigh Building, 601 W. 26th Street, 3rd Floor, New York, NY 10001

Founded in 2002 to support young galleries, the nonprofit New Art Dealers Alliance (NADA) brings that mission to its New York fair—the largest of New York Art Week, with 120 exhibitors. Here, visitors will discover works by younger and emerging artists.

Bu Shi

Oyster, 2026

Presented by SARAHCROWN New York

Price: $3,900

Oyster, 2026
Bu Shi
SARAHCROWN New York

The palm-sized paintings of Chinese artist Bu Shi hold an amulet-like power. The artist, who lives in Ravenna, Italy, employs an unnatural, jewel-tone palette to create landscapes and still lifes that engage with occult themes. Having practiced seal engraving and calligraphy, the artist brings his attention to detail to these intricate paintings.

Oyster (2026), on view with New York gallery SARAHCROWN, depicts two jagged oyster shells set in a darkened arched cove. Resting beside the shells is a cameo ring with a woman’s face, a white artichoke-shaped sculpture, and a burning red candle.

Painted in subtly variegated dark hues, the work encourages the eye to search to discover small details. It’s a delightful and intimate viewing experience. Shi’s first solo show, “The Lighthouse,” is currently on view downtown at the gallery, bringing together mysterious scenes of rocky coasts, isolated beaches, and solitary islands.

—Katie White

Margaret R. Thompson

For Ithell, The Cardinal Flame, 2026

Presented by Red Arrow Gallery

Price: $5,000

For Ithell, The Cardinal Flame, 2026
Margaret R Thompson
Red Arrow Gallery

This painting by Margaret R. Thompson is one in a booth of new works with Red Arrow Gallery at NADA New York. Thompson nods to the great Surrealist artist Ithell Colquhoun in her title, though I also sense influences from masters of mysticism and transcendentalism like Agnes Pelton and Hilma af Klint, who used painting to explore spirituality and unseen forces.

This particular painting, with imagery that recalls the sea, sun, sky, and fire, is made with volcanic rock, collected earth, temple oil, and natural pigments. I love how the material keeps the painting grounded, even as it opens up space for the mind to wander and offers a small escape from the pressures of the everyday.

—Casey Lesser

Emily Ponsonby

Embroidered Souls, 2026

Presented by Gillian Jason Gallery

Price: £6,500–£6,750 ($8,670–$9,000)

Embroidered Souls, 2026
Emily Ponsonby
Gillian Jason Gallery

One of my favorite discoveries at NADA was Emily Ponsonby, who has a lovely solo booth with Gillian Jason Gallery. Ponsonby works in encaustic—a historic technique using wax and pigment—which gives her paintings a hazy softness. The process feels especially personal: the Dorset, south England–based artist’s father was a beekeeper, and her surfaces hold traces of layering, scraping, and touch.

In Embroidered Souls (2025), Ponsonby captures that moment of ease when you can take off your socks and rest—it might be at the end of a day or after a run or during a picnic. The title is also telling, suggesting these soles have been through a lot, or are embroidered with stories. Like the rest of Ponsonby’s work on view, it feels pulled from a fond memory.

—C.L.

TEFAF New York

Through May 20th

Park Avenue Armory, 643 Park Avenue, New York, NY 10065

Founded in 1988, The European Fine Art Foundation (TEFAF) has built its flagship Maastricht fair into a byword for lavish historical presentations and old-money ambience. Its smaller New York edition, launched in 2016, skews more 20th-century than its continental counterpart, but remains the week’s most blue-chip fair, where works by the market’s loftiest names are commonplace.

Hilda Palafox

Paisaje II, 2025

Presented by Sean Kelly Gallery

Price: $5,000

Paisaje II, 2025
Hilda Palafox
Sean Kelly Gallery

Mexico City artist Hilda Palafox is known for her monumental depictions of women across painting, murals, ceramics, textiles, and drawing. Earlier this year, Sean Kelly Gallery presented recent works by the artist in the exhibition “De Tierra y Susurros.”

At TEFAF, the gallery is showcasing a handful of small-scale works in acrylic and charcoal on paper. These black-and-white works are almost photographic in appearance, linking themes of the female body to ecology. In Paisaje II 2025, the white silhouette of a blossom hovers over an open mouth in an image both sensual and striking.

—K.W.

1-54 New York

Through May 17th

The Starrett-Lehigh Building, 600 W. 27th Street, New York, NY 10001

The only fair focused entirely on contemporary art from Africa and its diaspora, 1-54 launched in London during Frieze Week in October and has run a New York edition since 2015. This year, the fair returns to the Starrett-Lehigh Building (the same venue as NADA) and will feature 26 exhibitors, including a curated section focused on Brazil.

Shourouk Rhaiem

Lessive Cléopâtre, 2025

Presented by 193 Gallery

Price: €8,500 ($9,955)

Lessive Cleopatre, 2025
Shourouk Rhaiem
193 Gallery

At the booth of Paris’s 193 Gallery, Shourouk Rhaiem’s Lessive Cléopâtre (2025)—a faithful, crystal-encrusted replica of the vintage French laundry-detergent box of the same name—sparkles with clever humor. The original packaging, with its kohl-eyed Cleopatra and a tagline promising “Blancheur Divine” (Divine Whiteness), carries the casual orientalism of its era. French artist Rhaiem, who is of Tunisian descent, covers the packaging with tiny rhinestones, elevating this laundry-room banality into something closer to a Fabergé egg.

Rhaiem spent the 2000s as a fine jeweler at her Shourouk Paris label before extending her embroidery and crystalwork into sculpture. The bedazzled replica has become her signature: staples of French consumer culture, such as cigarette packs and household products, are recast in gemwork, elevating their associations with domestic labor and advertising. The Cléopâtre on view was included in “Le mystère Cléopâtre” at Paris’s Institut du Monde Arabe last year.

—Arun Kakar

Independent

Through May 17th

Pier 36, 299 South Street, New York, NY 10002

Founded in 2010 with a strong emphasis on curation, Independent is known for its open-booth-style format and in-depth artist focus. More than 70% of the 76 galleries taking part this year are mounting solo artist presentations, so expect to add a few new names to your artist wishlist.

Brittany Mojo

The Sprawl, 2026

Presented by Mindy Solomon Gallery

Price: $8,000

The Sprawl, 2026
Brittany Mojo
Mindy Solomon Gallery

Brittany Mojo’s coil-constructed ceramic vessels display both keen technical ability and a defiance of formal tradition. Her matte, underglaze finishes unite colors that don’t typically go together. Her surfaces feature geometric patterns defined with wavering black outlines, which she then loosely adheres to.

In The Sprawl (2026), triangles of bright and muted hues ripple across a textured surface, a little purple spilling into the vivid orange section next to it, some blue infiltrating a mauve field. Though the work sold, other pots by the artist, adorned with ebullient floral forms, are still on offer at the gallery’s booth.

Mojo lives and works in Southern California, and the region’s fluidity and freedom infiltrate her work. “She’s not going for symmetry or perfection. She’s going for childlike wonder,” gallery assistant Mariana Mikaela said.

—Alina Cohen

Anton Stankowski

Ohne Titel (Spiegelung im Motorrad) (Untitled (Reflection in a motorcycle)), 1938

Presented by OSMOS

Price: $3,500

Ohne Titel (Spiegelung im Motorrad) (Untitled (Reflection in a motorcycle)), 1938
Anton Stankowski
OSMOS

A 1938 black-and-white photograph by Anton Stankowski at OSMOS’s booth caught me off guard before I realized what I was looking at. Ohne Titel (Spiegelung im Motorrad) (Untitled (Reflection in a Motorcycle)) frames a tight close-up of a motorcycle’s underside: dark coiled hoses, hex nuts, and oversized bolts curving across the picture, and at the center of it all a polished chrome disc, its convex surface acting like a fish-eye mirror.

Inside that mirror sits the small, slightly distorted figure of Stankowski himself with one hand raised toward us, his body wrapping around the curve of the chrome like it’s being poured into the metal.

Stankowski, who passed away in 1998, is better known as the graphic designer behind the Deutsche Bank logo. He came up through the Bauhaus-adjacent Neues Sehen (New Vision) movement, in which his peers like László Moholy-Nagy treated industrial machinery as raw material. This image sits squarely in that tradition. It’s half-mechanical study, half-hidden self-portrait, and entirely a useful reminder, too, of why Independent is a fair ripe for discovery.

—A.K.

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