Over the past week and a half, Paris’ art community has been teeming with unbridled excitement. Exhibitions, parties, and gallery openings have cropped up one by one across the city, forming a countdown to the one of the most anticipated events of the season. International art buyers, collectors, museum directors, journalists, and enthusiasts have descended upon the French capital, all eager to immerse themselves in the spectacle of Art Basel.
With a palpable spirit in the air, and following a rather theatrical Louvre heist that injected an almost cinematic edge into the week, the art world shifted its focus to the Grand Palais. The hope was that security would be rather more robust there than at the city’s most famous museum.
Art Basel Paris, launched in 2022 as the successor to the now-defunct FIAC, represents the newest chapter in the Art Basel franchise. The global enterprise, which began in Switzerland in 1970 and now includes editions in Miami Beach and Hong Kong, has built a reputation for convening the most influential galleries and the wealthiest patrons. While London’s Frieze contends with shifting tax legislation and a noted decline in international collectors, Paris is rapidly positioning itself as Europe’s most credible and dynamic marketplace for contemporary art.
Beyond the entrance lies a temporary Valhalla, an enclave of highly coveted contemporary and modern works, meticulously staged within the iconic Grand Palais setting. The fair functions simultaneously as a cultural summit and a mirror of the market forces that continue to shape contemporary art’s trajectory.
Despite ongoing discourse about accessibility and inclusivity within the art world, a clear hierarchy asserts itself the moment you step inside. Status is negotiated through countless details: what you wear, what you drink, your fluency in the names of sponsors, and of course, the way you look at and speak about the art.
Overwhelmed upon arrival, I made a beeline for Sadie Coles’ booth. A reliable touchstone, the London-based contemporary gallery—founded in 1997 and one I often revisit—consistently presents a roster of compelling works. Inside, pieces by Isabella Durcot and William N. Copley’s Philosophie dans le boudoir (1965) reminded me why my instincts had led me straight to booth B41. Moving on, White Cube drew me in with Alexander Calder’s Eight Polygons (1973), while Galerie Max Hetzler showcased Albert Oehlen’s abstract painting (1996).
Kukje Gallery emerged as a standout, with Hyun-Sook Lee, Chairwoman and President, noting: “Despite concerns about a global economic downturn, Kukje Gallery once again observed a strong presence of Korean art at this year’s Art Basel Paris. Collectors from Europe, the United States, and Asia remarked on the distinctive atmosphere that could be felt not only within the fair but throughout the city at large. Works by leading Korean artists—including Park Seo-Bo, Ha Chong-Hyun, Kim Yun Shin, Lee Ufan, Jae-Eun Choi, Kyungah Ham, and Lee Kwang-Ho—were met with strong sales, reaffirming the unique strengths and defining characteristics of Korean art within the global market. Having participated in Art Basel Paris since 2022, we take pride in this milestone and look forward to continuing to showcase the diverse practices of artists working on the international stage.”
This year’s edition reinforced Art Basel Paris’ growing stature. The fair brought together more than 200 galleries from over 40 countries, including a strong contingent from France, attracting a mix of collectors, curators, and art enthusiasts from around the world. The atmosphere was buoyed by robust sales across a range of works, from established masters to rediscovered and emerging artists, reflecting both the breadth and ambition of the galleries’ programming.
Looking ahead, the franchise welcomes Karma Crippa as the new director of Art Basel Paris. Beginning on 1 November 2025, Crippa will guide the fair into its next chapter, with anticipation already building for the innovations and discoveries that next year’s edition promises to deliver.
