As soon as Art Basel Miami Beach opened yesterday at 11 a.m., collectors poured in after having stood in the usual line outside the Convention Center. But there was no mad scramble for pieces, and the mood this year felt far more relaxed. Aisles and booths filled up quickly but never reached the overcrowded chaos we saw at the Grand Palais in Paris just a few months ago. International collectors seemed subdued, with Americans taking the spotlight as prominent Europeans and Asians either skipped this year or planned to show up over the weekend. Among the VIPs, we spotted Leonardo DiCaprio, DJ Martin Garrix and top art collectors like Steve Wynn, Dan Sundheim and Patrizia Sandretto Re Rebaudengo.
Though the aisles weren’t packed to capacity, they were certainly loaded with art—from timeless masterpieces to fresh discoveries. Just a few hours after the opening, many collectors and professionals were already feeling the fatigue, running in circles despite their maps. Even the new Art Basel A.I.-powered app didn’t quite help, with Lens struggling to recognize even iconic masterpieces and the floor map reduced to an unhelpful static PDF. Still, the overall vibe remained upbeat, and both collectors and dealers seemed optimistic following the U.S. elections and hopeful for the market’s outlook in the year ahead.
This year, galleries brought out some of the finest works in their collections, with an abundance of high-priced not-to-be-missed masterpieces. Gagosian featured a massive silver silkscreen by Andy Warhol with portraits of Ethel Scull from 1963, while Acquavella offered a $30 million Picasso. At Hauser & Wirth, a fresh-to-market Philip Guston, Two Hearts from 1965 priced at $6.5 million, was displayed alongside a $4.5 million David Hammons. Over at Pace, a captivating Joan Mitchell with a $9.5 million price tag commanded attention on the exterior wall, while numerous Keith Haring and Tom Wesselmann works dotted the walls as dealers took advantage of renewed interest in their work. Gladstone Gallery reported the sale of a $2 million Keith Haring from 1984.
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“After a dark and nervous season, it feels like the clouds have broken, and the perfect blue-sky weather here in Miami is reflecting the art world’s mood—buoyant and fully engaged minus the overly frantic energy of the past. Art Basel Miami is the most American of all art fairs, so we’ve focused on outstanding American artists in our program. And collectors’ incredible responses ahead of the fair—their enthusiastic commitments to the works we previewed, the robust sales on this first day—prove the art market is in a brighter place as this year ends,” Hauser & Wirth president Marc Payot told Observer.
By the end of the day, the gallery reported multiple sales of works by artists spanning generations, including the aforementioned Hammons, a fresh-from-the-studio abstract portrait of a woman by George Condo for $2.5 million and two Ed Clark paintings priced at $1.4 million and $1 million. On the more contemporary front, the gallery sold a half-million-dollar work by Jeffrey Gibson, a painting by Michaela Yearwood-Dan for $150,000, an Ambera Wellmann for $80,000 and a canvas by Firelei Báez for $375,000. Works by Camille Henrot, Nairy Baghramian, Catherine Goodman, Allison Katz and María Berrío also found buyers.
David Zwirner had a similarly strong showing on the first day, reporting sales that included a $3.5 million Infinity Nets painting by Yayoi Kusama, a rare Noah Davis from 2008 for $2 million, two new Lisa Yuskavage paintings for $600,000 and $1.4 million and two new Elizabeth Peytons for $900,000 and $1.1 million. The gallery moved two Josef Albers paintings for $600,000 and $800,000, several Raymond Pettibon works ranging from $100,000 to $450,000, a new painting by Oscar Murillo for $400,000 and a Katherine Bernhardt piece for $180,000, along with multiple works on paper and master prints by Elizabeth Peyton, Marlene Dumas and Cy Twombly.
Larry Gagosian confirmed that while collectors are taking their time, sales on the first day were promising. “There is an appetite for great things, and the market feels like it’s coming back,” the mega dealer told Observer. His gallery placed a large-scale piece by Maurizio Cattelan, MEAT, along with works by Roy Lichtenstein, Richard Prince, Ed Ruscha, Jenny Saville, a Jeff Koons directly from the artist’s studio and paintings by Jadé Fadojutimi, who currently has a sold-out show at the gallery in New York.
Lehmann Maupin enjoyed multiple sales on day one, including of significant works by some of the top artists in its program, many of whom have recently received major institutional recognition. Among the highlights: a new beaded canvas work by Liza Lou, sold in the range of $225,000–$250,000, placed with collectors based in New York. (A permanent installation by Lou was recently unveiled in the lobby of the Brooklyn Museum, which acquired the immersive work.) The gallery also sold a new painting by Calida Rawles in the $150,000–$200,000 range; it’s from the same body of work currently on view in her first institutional solo exhibition, which just opened at the Pérez Art Museum Miami. Another work by Lee Bul sold for $190,000—notably, the artist’s Genesis Facade Commission Long Tail Halo has taken over the Met facade through May 27, 2025. A new silk collage work by Billie Zangewa went to U.S.-based collectors with a price tag in the range of $110,000–$120,000, a painting by Marilyn Minter to a Canadian collector for $200,000, a new painting by Vietnamese rising star Tammy Nguyen to a California collector for $90,000, an assemblage sculpture by Nari Ward for $125,000 and a new painting by Arcmanoro Niles in the $110,000–$120,000 range.
“Art Basel Miami has proven that it continues to be one of the most important fairs, both for us and for our artists. We’ve had a strong start to the fair so far with the placement of over seven works in the six-figure range,” said gallery co-founder david maupin at the end of the day. “We are very optimistic that we will continue to see sales throughout the rest of the week as we’ve seen in years past. This activity level already signals a positive turn in the market.”
Meanwhile, Pace Gallery had already in the first hour placed a vibrant new work by 27-year-old Chinese artist Li Hei Di for $68,000. Hei Di recently joined the gallery’s program and will have a solo show in Hong Kong. Among other notable sales for Pace were an abstract painting by Sam Gilliam for $1 million ahead of upcoming exhibitions in Seoul and Tokyo, a new work on paper by Robert Longo for $550,000 and a new sculpture by Leo Villareal for $125,000. It also placed a new Black Dada painting by Adam Pendleton for $450,000; Pendleton will be the subject of a major solo exhibition at the Hirshhorn Museum in Washington, D.C. next year. Pace reported early sales from other new additions to its roster, including a painting by Kylie Manning for $110,000 ahead of her solo show at Pace New York in 2025, a new sculpture by Genesis Belanger for $25,000 and a vibrant new painting by Miami-based artist Alejandro Piñeiro Bello—emanating all the tropical energies of the Caribbean—sold for $75,000. Other notable sales included eleven small-scale nipple paintings by Loie Hollowell ($80,000 each), along with a sculpture, painting and work on paper by Yoshitomo Nara, a new painting by Lee Ufan and a 1975 print by Richard Pettibone.
Sprüth Magers’ booth, which once again showcased the gallery’s commitment to conceptual rigor and striking aesthetics, was abuzz with activity. Visitors were welcomed by Barbara Kruger’s powerful five-minute, three-channel video installation, Pledge, Will, Vow (1988/2020). On three red screens, white words appear one after another, dissecting the language of the U.S. Pledge of Allegiance, final wills and marriage vows, while emphasizing what’s omitted. Kruger animates and deconstructs each quote, disrupting familiar phrasing with jarring word edits punctuated by a loud “click” before settling on the original text. This digital reimagining of static, oft-repeated language compels the audience to contemplate the true promises of each passage while revealing hidden implications. In a conversation with curator Hans Ulrich Obrist, Kruger noted, Pledge, Will, Vow “was a chance for me to use moving images to edit and comment on these ‘official’ texts.”
First-day sales included an oil on canvas by Anne Imhof for €250,000, a digital photographic print by John Baldessari for $325,000 and a yellow Exclamation Point by Richard Artschwager for $425,000. Works by Louise Lawler, Analia Saban, Kara Walker and an additional work on paper by Anne Imhof also found buyers. Additionally, Sprüth Magers sold a work by Korean artist Mire Lee, tied to her Open Wound installation unveiled during Frieze London at Tate Modern. Lee recently joined the gallery’s roster while continuing to be represented by Tina Kim.
In addition to the stellar Keith Haring sale mentioned earlier, Gladstone Gallery placed a captivating sculpture by Wangechi Mutu for $750,000 and two Alex Katz paintings priced at $100,000 and $750,000. Following Elisabeth Peyton’s strong $2.3 million result in Phillips’ November auction, the gallery placed a painting by Peyton for $700,000 and several works on paper priced between $80,000 and $225,000. Other notable sales at the booth included three paintings by David Salle, two works by Ugo Rondinone and two editions of a 1977 Robert Mapplethorpe photograph, each sold in the $200,000 range.
Many of the galleries and artists at this year’s art fair hail from Latin America—unsurprising as Art Basel’s Miami edition aims to cement its role as a bridge between the Americas, as director Bridget Finn recently emphasized in an interview with Observer. Several galleries from the region are new this year, including Buenos Aires-based PIEDRAS, which showcased a solo presentation by Argentinian multidisciplinary artist Jimena Croceri in the Positions section. Croceri’s work features poetic embodiments of body fragments cast into organically shaped bronze sculptures and accompanying photographs, priced between $8,000 and $9,000.
In the main section, Colombian gallery Istituto De Vision curated a presentation focused on exploring core themes tied to the country’s history and cultural identity—body, nature, ancestral knowledge, resistance and resilience. Its booth featured works by artists such as Noemí Perez, Tania Candiani, Cristina Camacho and Piá Camil, all of whom have gained international recognition in recent years. Another gallery from Buenos Aires, Isla Flotante, is in the section this year, presenting pieces by artists Valentin Demarco, Valentina Liernur and Mariela Scafati.
Meanwhile, in the Positions section, Proyectos Ultravioleta featured mystical paintings by Guatemalan artist Paula Nico Cumez, which depict moments of intimate and energetic connection with nature. Priced between $8,000 and $10,000, this spotlighting at Art Basel Miami Beach follows her recent inclusion in the just-closed 60th Venice Biennale. Other galleries also showcased artists who have gained international attention at the recent Venice Biennale, like the Brazilian gallery Carmo Johnson Projects. Marking its first appearance at the fair, it presented a solo booth featuring colorful paintings by the Indigenous collective MAHKU – Huni Kuin Artists Movement (Acre, Amazon, Brazil). These works, linked to Huni Kuin ancestry, depict translated and transformed Huni Meka Chants—the ceremony in which ayahuasca medicine is consecrated. Priced between $22,000 and $33,000, all proceeds will support the community and its territorial resilience and resistance. Anchored in their mission of “sell a painting, to buy land,” the collective aims to celebrate and preserve the Amazon rainforest’s ancestral knowledge, recover land lost during the late 19th-century Amazon rubber boom and reaffirm the social importance of reparations for Brazilian Indigenous peoples. Their debut at Art Basel Miami Beach follows a memorable takeover of the Giardini’s Central Pavilion at the last Venice Biennale, where they created an intricate 750-meter-square mural depicting vibrant ancestral symbols.
Nearby, UBS had a full takeover this year with a mesmerizing textile installation by Peruvian-American artist Sarah Zapata, immersing viewers in the rich Peruvian wool-weaving tradition with all its symbolic, cultural and anthropological depth. Evoking Pre-Columbian ruins, Zapata’s columns and fragments are cloaked in chameleonic, psychedelic hand-woven fabric and latch-hooked rugs—crafted by the artist herself—blending traditional techniques with a playful, sensual contemporary twist. The installation is part of “Threads,” organized in collaboration with ARTNOIR and curated by Larry Ossei-Mensah, which pairs Zapata’s work with that of New York-based artist Sagarika Sundaram. The UBS Lounge also features the Collection’s recent acquisitions, including works by Maja Bajević, Liza Lou, Suchitra Mattai, Cheryl Pope and Yinka Shonibare.
Meanwhile, PᐧPᐧOᐧW staged a focused presentation of historical works by Cuban-American artist Manuel Pardo as part of the Kabinett sector. Pardo’s path to art is unique—he was one of many Cuban children who migrated to the U.S. through Operation Peter Pan, a clandestine program that brought over 14,000 unaccompanied Cuban minors to the States from 1960 to 1962. Exhibited publicly for the first time, these works provide a moving testimony to the shared narratives and traumas of Miami’s Cuban subculture. Alongside Pardo’s works, PᐧPᐧOᐧW presented stunning new paintings by Hilary Harkness, Elisabeth Glaessen, Grace Carney, Robin F. Williams, Guadalupe Maravilla and Ishi Glinsky, among others. Many of these pieces were already presold before the opening, and the gallery reported strong sales throughout the day.
Among the impressive monumental installations in the Meridians section this year, PᐧPᐧOᐧW presented a large-scale work by Portia Munson, featuring thousands of ready-made consumer products transformed into wedding gowns and tablecloths—an expansion of Munson’s exploration of consumerism’s impact on identity and ecology. Other highlights included an ambitious suite of three large-scale pieces and a monumental Harlequin sculpture by Anastasia Bay that echoes the grotesque portrayal of human misery staged by James Ensor in Christ’s Entry into Brussels. Nearby, Chinese artist Yuan Fang exhibited three new swirling red abstract paintings with Skarstedt Gallery, while Marianne Boesky Gallery presented a mesmerizing installation by Sarah Meyohas. Mimicking augmented reality without digital technology, Meyohas created a play of light, space, and reflections that captivated audiences. The gallery reported strong sales, including Michaela Yearwood-Dan’s work for $150,000, a piece by Celeste Rapone for $55,000 and three works by Thalita Hamaoui—who just joined the roster—selling in the $22,000–$32,000 range.
Sales weren’t just happening at the top tier; galleries reported transactions in the Positions and Nova sections, which spotlight new discoveries and emerging artists. In the Nova section, Charles Moffet sold four sculptures by Kim Dacres, priced between $7,000 and $35,000, with one going to a museum collection. The gallery also sold four felt-based intimate memorial pieces by Melissa Joseph, with prices ranging from $10,000 to $20,000.
In the Positions section, a standout solo booth showcased elaborated tapestry-paintings by Korean-born, Los Angeles-based artist Ken Gun Min presented by Nazarian / Curcio. Min has gained popularity over the past two years, and the gallery sold two paintings for $25,000 and two in the $45,000–$50,000 range, with two additional works on reserve for U.S. museums. Complementing his recent solo exhibition at MCA Denver and a 2025 commission for the Denver Art Museum, the presentation featured two of Min’s most significant works to date, including the immersive diptych landscape painting Who dares to love forever? Who wants to live, which is now reserved for museum acquisition.
As the cocktail hour approached, and with it, after-hours wandering through the seemingly endless Convention Center, collectors and professionals took a much-needed break to sip a drink conceived by artist Tavares Strachan in collaboration with Casa Dragones: The Henri Christophe, a cocktail inspired by the Haitian revolutionary and monarch, blending guava and sugarcane flavors. The moment was part of the inventive “Art-Tenders” programming organized by the tequila brand, with a lineup of artists like Wilfredo Prieto, Mario Garcia Torres and Leilah Babirye each stepping in as guest mixologists to present cocktails inspired by their artistic practices.
As Strachan served cocktails at 5 p.m., artists and dealers at Art Basel Miami Beach already had plenty of reasons to celebrate after an opening day that lifted spirits and provided signals of an art market that, while readjusted, is undeniably back on track.
Art Basel Miami Beach continues through Sunday, December 8.