At Art Basel Miami Beach, one year into Donald Trump’s second presidential administration, most galleries are avoiding overt political themes, though a few notable exceptions stand out. The most talked-about piece is Maurizio Cattelan’s marble sculpture *Bones (2025)*, a crashing eagle metaphor for the nation’s state, shown on Gagosian’s stand. Other politically charged works include Nicholas Galanin’s burned totem pole and drone-inspired rug, David Hammons’ *African American Flag (1990)*, and Tim Youd’s typewriter performance of Hunter S. Thompson’s book. Most exhibitors, however, focus on apolitical American iconography or market-driven choices.
The sparse but strident political statements matter because they highlight a tension between art’s potential for protest and the commercial pressures of a challenging art market. Gallerist Cristin Tierney notes that dealers prioritize supporting their artists over taking thematic risks, reflecting broader market caution. The presence of works addressing Indigenous rights, surveillance, and national decline—alongside their slow sales—underscores how political art at major fairs often serves as symbolic commentary rather than a commercial driver, revealing the limits of dissent within the art market ecosystem.