The Bass Museum of Art in Miami Beach has appointed the Los Angeles-based architecture firm Johnston Marklee to design a new 22,000-square-foot pavilion. The expansion, funded in part by a $20.1 million municipal bond, will occupy a site currently used for parking and will feature an elevated gallery designed to withstand South Florida’s environmental challenges, alongside an outdoor patio and performance stage.
The Dallas Art Fair (DAF), founded in 2009 by developer John T. Sughrue and curator Chris Byrne, concluded its eighteenth edition this past weekend. Director Kelly Cornell, who started as an intern and became director in 2016, has strengthened partnerships with the Dallas Museum of Art, Nasher Sculpture Center, and Dallas Contemporary, while securing sponsors like Bank of America. The fair has grown from 35 to over 90 galleries, though it still lacks mega-galleries like Gagosian, Hauser & Wirth, David Zwirner, and Pace. International participation this year included about 20 galleries, with notable names such as Perrotin, Anat Egbi, and Hesse Flatow, while galleries from Germany and China were absent.
This article presents Robert Moore's "Lil' Lucy Figure" (2022), a mold-injected vinyl sculpture measuring 8 × 3 3/20 × 3 inches, available through APC Gallery in Miami Beach and Los Angeles. The work is hand-signed by the artist, comes with a certificate of authenticity, and is part of Moore's "Lil Lucy" series. Moore, a self-taught multidisciplinary artist born in 1983 in Des Moines, Iowa, creates paintings, sculptures, and installations that explore mental health, Black identity, and social justice, drawing on personal biography, art-historical references, and American iconography.
Northern Irish artist Robyn Ward has announced a major global exhibition titled 'Shards of Dawn,' set to premiere in 2026. The exhibition will debut at Mana Contemporary in New Jersey before traveling to Mana Contemporary Miami during Art Basel and concluding at the Modern Art Museum Shanghai in 2027. Curated by Shai Baitel, the body of work incorporates industrial fragments and discarded materials, marking the second installment of a trilogy that explores themes of memory, fracture, and resilience.
Following the cancellation of Art Basel Miami Beach 2020 due to the pandemic, the Miami Design District has announced plans to host a physical art and design event. Approximately 25 to 30 top-tier galleries will occupy storefronts for a ten-day period starting November 27, while the historic Moore Building will house 'Design Miami/ Podium,' a curated selling exhibition titled 'America(s)' led by Aric Chen.
The Bass Museum of Art is expanding its footprint in Miami Beach with the opening of The Rotunda at The Bass, a new satellite gallery located in Collins Park. Set to debut on March 28, the renovated 1962 circular building—originally designed by Herbert A. Mathes—will offer free admission year-round. The $5.79-million restoration project, funded by the City of Miami Beach, transforms a historic architectural landmark into a modern exhibition space that bridges the museum's main building with its outdoor public art program.
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Digital artist Beeple is set to make his German institutional debut at Berlin’s Neue Nationalgalerie with "Regular Animals" (2025), an installation featuring ten robotic dogs with heads modeled after tech moguls like Elon Musk and iconic artists like Pablo Picasso. The sculptures, which gained viral fame at Art Basel Miami Beach, use AI to process their surroundings and "defecate" stylized prints for visitors. The 11-day pop-up presentation will place Beeple’s work in dialogue with Nam June Paik’s "Andy Warhol Robot" (1994), exploring the intersection of art, media, and mechanical reproduction.
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Frieze Los Angeles has concluded with reports of strong sales, with some dealers noting higher transaction volumes than at Art Basel Miami Beach. This surge in activity was accompanied by a record number of satellite events, signaling a growing interest in alternative fair models and a localized boost for the Southern California art scene.
The VIP opening of Frieze Los Angeles at Santa Monica Airport saw a surge of high-value transactions and heavy foot traffic from both local and international collectors. Major galleries reported multi-million dollar sales within the first few hours, including a $2.8 million work by Njideka Akunyili Crosby at David Zwirner and a sold-out booth of Conny Maier paintings at Hauser & Wirth. Dealers described the atmosphere as a "frenzy," noting that sales figures in some cases already tripled their performance at previous major fairs like Art Basel Miami Beach.
The Reefline, a non-profit eco-art initiative, has launched its first phase of a seven-mile underwater sculpture park and artificial reef along Miami Beach. The project debuted with 'Concrete Coral' by Argentinian artist Leandro Erlich, a submerged sculpture depicting a traffic jam designed to provide a habitat for marine life. Future phases include works by Carlos Betancourt, Alberto Latorre, and Petroc Sesti, all overseen by the architecture firm OMA and founder Ximena Caminos.
The Miami Herald's weekly "Art happenings" column provides a curated list of upcoming visual art events in the Miami area. It details specific exhibitions, gallery openings, and artist talks scheduled for the week, serving as a local guide for residents and visitors.
Cathy Yan's new black comedy caper *The Gallerist*, which premiered at the Sundance Film Festival, follows Miami-based dealer Polina Polinski (Natalie Portman) as she tries to sell a corpse impaled on a sculpture during Art Basel Miami Beach. The film, co-written by Yan and James Pedersen, features a cast including Da'Vine Joy Randolph, Zach Galifianakis, Jenna Ortega, Charli xcx, and Catherine Zeta-Jones, and leans heavily on art-world stereotypes for its farcical humor.
The Gallerist, a new satire directed by Cathy Yan, premiered at the Sundance Film Festival. The film follows struggling gallerist Polina Polinski (Natalie Portman), who is betting everything on a one-artist debut at Art Basel Miami Beach. After an obnoxious art influencer, Dalton Hardberry (Zach Galifianakis), dies accidentally by impalement on a sculpture titled The Emasculator, Polina and her assistant Kiki (Jenna Ortega) conspire to pass off his corpse as part of the artwork, duping wealthy clients. The ensemble cast also includes Catherine Zeta-Jones as a legendary dealer reminiscent of Marian Goodman, Da'Vine Joy Randolph as the earnest artist Stella Burgess, and Sterling K. Brown as Polina's ex-husband.
ArtTactic's Global Art Market Outlook 2026 report reveals renewed confidence in the art market, with 51% of participants expecting growth and 42% anticipating stability. Strong sales in London, Paris, and Miami Beach, along with multi-billion-dollar November auction results, have buoyed sentiment. The recovery is uneven but meaningful, driven by selective demand for established names: Impressionist art rose 80.4%, Modern art 19.4%, and Old Masters 68.7%. The K-shaped divide is sharpening, with robust performance at the top end (above $1 million) and accessible tiers (below $50,000), while the middle market remains sluggish. Top performers include Klimt, Picasso, Rothko, and Calder, while ultracontemporary artists like Nicolas Party and Matthew Wong have seen significant declines.
A growing number of art fairs and galleries are publicly announcing a 'strategic pause'—a hiatus from their regular exhibition schedules to reassess their models. This week, Vienna's Spark Art Fair invoked the phrase to take a year off, following Berlin dealer Mehdi Chouakri's decision to suspend his gallery's exhibition program after 30 years. Last July, ADAA's Art Show coined the term when it announced a year-long break to reimagine the New York fair, and Taipei Dangdai in Taiwan followed suit days later. In December, an unprecedented number of galleries skipped Art Basel Miami Beach. The trend reflects a broader shift in the art world's willingness to openly acknowledge the need for rest and reinvention.
Artnet News reports on the rediscovery of Colombian artist Luis Fernando Zapata (1951–1994), whose solo booth at Art Basel Miami Beach features works from 1988 to 1994 that resemble ancient artifacts. The booth, titled “The Immemorial: The Transcendence of Luis Fernando Zapata,” is presented by Bogotá’s Galería Elvira Moreno in the fair’s Survey sector, which highlights historically significant art made before 2000. Zapata’s pieces—including totemic shields, a mud-brown sarcophagus with cuneiform-like glyphs, barques, steles, and his “excavaciones”—are mostly hand-sculpted papier-mâché, evoking ritual and imagined cosmologies. Diagnosed HIV+ in the mid-1980s, Zapata died in 1994, leaving a body of work that has remained largely absent from the queer canon and art-world consciousness until now.
Digital artist Mike Winkelmann, known as Beeple, joined Ben Davis on the Artnet News podcast "The Art Angle" to discuss his work and the evolving perception of digital art. Beeple first gained global attention in 2021 when his NFT artwork "Everydays, The First 5,000 Days" sold for $69 million at Christie's, making him a symbol of the NFT boom. Since then, he has continued to experiment with new media, including interactive video sculptures shown at LACMA and robot dogs with human heads displayed at Art Basel Miami Beach 2025.
Montreal-based Galerie de Bellefeuille, a commercial gallery founded in 1980 that represents over 100 artists including Damien Hirst, Robert Indiana, Jeff Koons, and Alexander Calder, has announced it will open a 4,000-square-foot location at 136 NW 25th St. in Miami's Wynwood neighborhood this summer. The expansion comes shortly after the gallery's planned U.S. flagship in Midtown New York, and marks the latest in a wave of international galleries establishing a presence in Miami.
Artnet News columnist reflects on the fragile state of the art market as 2025 ends, noting that global instability and troubling news have dampened buyer psychology. Despite this, major auction houses reported strong annual sales—Sotheby's at $7 billion (up 17%) and Christie's at $6.2 billion (up 6%)—and a series of high-profile sales, including the Pauline Karpidas collection auction and Leonard Lauder's Gustav Klimt portrait fetching $236.4 million, have sparked renewed momentum. The article quotes advisors and dealers who sense a market bottom has passed, with buyers returning to auctions and fairs like Art Basel Miami Beach.
Artnet News editor Kate Brown interviews Marc Spiegler, former global director of Art Basel (2007–2022), to analyze the state of the art market entering 2026. The article reviews a turbulent 2025: galleries closed, buying energy dried up, some fairs shrank, and the secondary market faltered, though the hype-driven speculation of previous years receded. By late 2025, signs of recovery emerged—successful fall auction weeks in New York and a stronger-than-expected Art Basel Miami Beach—and both Christie’s and Sotheby’s reported upticks in projected revenue for the year.
NFT Paris and its sister event RWA Paris have been canceled just one month before they were scheduled to take place at the Grande Halle de la Villette in Paris. Founder Alexandre Tsydenkov announced the cancellation on LinkedIn, citing the collapse of the crypto and NFT markets as making the events financially impossible despite drastic cost cuts. Both conferences had run for four years, showcasing digital art, NFT galleries, and AI-generated works, but had recently shifted toward broader tech and blockchain topics. All tickets will be refunded.
Several international curators and museum directors, including Connie Butler of MoMA PS1, Carolyn Christov-Bakargiev, Julieta Gonzalez of the Wexner Center for the Arts, and Madeleine Grynsztejn of MCA Chicago, selected artworks that they believe define 2025. Highlights include Ayoung Kim's video installation 'Delivery Dancer’s Arc: 0º Receiver' (2024), Beeple's 'Regular Animals' premiered at Art Basel Miami Beach, and Kerry James Marshall's painting 'Haul' (2025) from his retrospective at the Royal Academy of Arts. Julieta Gonzalez also pointed to a broader constellation of practices emphasizing collectivity, ecological thinking, and Indigenous cosmologies rather than a single emblematic work.
At Art Basel Miami Beach 2025, the art market showed a strong turn toward historical references, with galleries like Gagosian featuring Jeff Koons' antique-inspired sculptures and Takashi Murakami's reproductions of Cézanne and Van Gogh. The new Zero 10 sector, named after a 1915 Malevich exhibition, highlighted digital artists such as Beeple and Larva Labs. This trend reflects a broader "flight to quality" in an uncertain market, where collectors seek reassurance by associating emerging or overlooked artists with established historical names.
Todd von Ammon, a young gallerist, critiques the contemporary art market's over-reliance on art fairs and the homogenization of gallery spaces into a sterile, grid-like system. He contrasts this with the lost charm of discovering hidden, architecturally unique galleries in labyrinthine neighborhoods, which he argues fosters a sense of urban belonging and agency for collectors and art workers. The article traces the shift from the rabbit warrens of SoHo to the dense Chelsea gallery district and the rise of the modern art fair, epitomized by Art Basel's expansion to Miami Beach in 2002, which he likens to a pyramid scheme that burdens young galleries with high costs for minimal returns.
Sotheby's will hold its second Saudi Arabia auction, 'Origins II,' on January 31, 2027, focusing exclusively on art after its first sale struggled with a 65.8% sell-through rate and unsold luxury lots. Meanwhile, the Smithsonian's National Museum of Asian Art has voluntarily returned three statues to Cambodia after determining they were removed during the country's civil war. In digital art news, The Art Newspaper criticizes the 'culture of narcissism' in the field, citing Art Basel Miami Beach's new Zero 10 digital art initiative as an example of bypassing traditional curatorial safeguards.
In this year-end roundup episode of The Art Angle, co-hosts Kate Brown and Ben Davis, joined by Artnet Pro editor and art critic Andrew Russeth, review the defining trends, themes, and stories of 2025. They cover the art market's slump and subsequent rebound in New York's fall auctions and Art Basel Miami Beach, the political impact of Trump 2.0 on arts funding and museum governance, the question of a 'post-woke' art world, the return of digital art, and the ongoing power of red chip art. The episode also highlights the multi-front crisis facing institutions due to changing public expectations, rising costs, and political shifts, alongside lighter, unusual stories from the art world.
Art Basel Miami Beach's new digital art section, Zero 10, featured a heavily subsidized presentation curated by Eli Scheinman, bypassing the fair's usual selection process. The centerpiece was Beeple's installation "Regular Animals" (2025), which displayed dog-like robots with humanoid masks of figures including Kim Jong-un, Elon Musk, and Beeple himself, which critics argue lacks substantive critique and relies on shallow satire.
Jean-Michel Basquiat's 1983 painting *Onion Gum*, priced at $21.5 million, was one of the most expensive works for sale at the 23rd edition of Art Basel Miami Beach. The large square canvas, featuring a white head and handwritten text, has a long market history: it sold for $7.36 million at Sotheby's in 2012 to hedge fund manager Daniel Sundheim, then failed to meet its estimate at auction in 2016, fetching $6.6 million. Since 2017, Van de Weghe Gallery has used the work as collateral for bank loans, showing it at multiple Art Basel fairs with prices rising from $16.5 million in 2018 to the current $21.5 million.
In 2025, the art market faced significant challenges, including gallery closures and unfavorable auction results in the first three quarters, driven by geopolitical pressures such as US President Donald Trump's tariffs. However, a rebound occurred in autumn, with buoyant fairs like Frieze London and Art Basel Paris, and strong November auctions in New York totaling over USD 2 billion, carrying momentum to Art Basel Miami Beach. Key events included Gustav Klimt's *Portrait of Elisabeth Lederer* selling for USD 236.4 million at Sotheby's, a record for a Modern work, and a Frida Kahlo self-portrait setting a new record for a work by a woman. Meanwhile, several galleries closed, including Blum, Venus Over Manhattan, Clearing, Kasmin Gallery, Tilton Gallery, and Perrotin and Pace's Hong Kong outposts, while others expanded, such as Thaddaeus Ropac in Milan and Hauser & Wirth in Sicily.
A centennial market analysis of Joan Mitchell reveals that an untitled 1979 abstract work by the artist was the most expensive artwork on offer at Art Basel Miami Beach, priced at $18.5 million by Gray gallery. The article examines Mitchell's auction performance, noting that her record stands at $29.2 million set in 2023, and that three paintings have sold for over $20 million since then. Despite these strong results, her auction highs still trail behind male Abstract Expressionist contemporaries like Jackson Pollock and Mark Rothko.