Collectors, too, are changing. They are weary of the predictable, buying less often but with sharper intent. What they crave today is discovery and experience and on that front, Paris delivers.
In 2025, Paris has reasserted itself as the world’s art capital, in a way that feels both striking and inevitable. The city’s cultural calendar has been electric, marked by landmark events such as the opening of the new Fondation Cartier and the monumental Gerhard Richter exhibition at the Fondation Louis Vuitton, offering collectors a vibrant constellation of must-see exhibitions surrounding the fairs. These moments have collectively reignited Paris’s magnetic appeal, merging institutional gravitas with the excitement of market momentum.
At the fair itself, gallerists saved their best works for Paris. Curators from every corner of the world flooded the aisles during the preview days, a frenzy reminiscent of the golden VIP years, far beyond the modest “four collectors invited per gallery” format that once defined the event. By the second day, following the first-choice rush, additional sales were already stacking up. The mood was light, confident, and international, a perfect blend of blue-chip assurance and bold experimentation.
Among the highlights, four Brazilian galleries stood out, underscoring the growing global relevance of Brazilian art. Institutional acquisitions and the major exhibition of Lygia Pape at the Bourse de Commerce, recently represented by White Cube, further affirmed Brazil’s expanding influence. Across numerous booths, works by contemporary Brazilian artists captured both curatorial and collector attention, reflecting a broader fascination with the country’s creative energy and cultural innovation.
Brazilian Galleries
Fortes D’Aloia & Gabriel
At Art Basel Paris 2025, Fortes D’Aloia & Gabriel presents a dynamic group exhibition featuring works that explore materiality, intimacy, and monumentality across generations. The gallery is showcasing a very rare 1957 woodcut by Lygia Pape, currently on view at the Bourse du Commerce, with an asking price of $220.000.
Among the highlights, the gallery reports successful placements of works by Lucia Laguna sold for $190.000; Janaina Tschäpe, with a painting sold for $150.000 and drawings for $47.000; Erika Verzutti wall sculpture sold for $60.000, the artist was also invited for this year’s edition of Pourquoi Paris?, a curatorial project by Julie Boukobza, where she occupies the Hôtel Balzac; Valeska Soares oil on canvas medium size sold for $60.000; Rivane Neuenschwander weaving on fabric $60.000; Márcia Falcão, medium oil on canvas for $27.000, from the same serie of paintings currently featured at the Bienal de São Paulo. Including the sale of a painting from the same series and Luiz Zerbini, serie of small-format paintings sold for $35.000.
At only 28, Sophia Loeb has already emerged as a remarkable success in the international art market, and is particularly sought after by collectors from the Middle East. She has created four exclusive, limited-edition bags for Dior that extend her artistic practice, painting with a sensibility reminiscent of Pre-Raphaelitism and Impressionism. A piece she presented at the booth has already been acquired by a museum for $35.000, while the waiting list for her coveted creations has become almost interminable.
Sophia Loeb
O Cantar da Luz Viva, 2025
Acrylic and oil on canvas
170 x 140 x 4.5 cm
Sold
A Gentil Carioca
For this edition of Art Basel Paris, A Gentil Carioca revisits the spirit of its landmark 2006 exhibition “De repente, livros!”, in which Ernesto Neto, Laura Lima, and Marcio Botner invited artists to share books that had shaped their personal journeys, presenting them as artworks within the gallery space.
At the fair, the gallery has attracted strong attention, with highlights including pieces by Denilson Baniwa, who also curated the Amazonies exhibition at the Musée du Quai Branly featuring Carlos Jacanamijoy. Maria Nepomuceno is preparing for her participation in the upcoming Guatemala Biennial, while works by Agrade Camiz are currently under negotiation with a major museum.
Agrade Camíz
Solilóquio, 2025
Acrylic, oil pastel and oil stick on canvas
170 x 110 x 4 cm
Luisa Strina
The gallery presents a thoughtfully curated selection highlighting artists whose practices explore materiality, space, and sociopolitical narratives. A standout at the booth is a work from Laura Lima’s Disco Voadores series, which draws attention for its conceptual rigor and playful engagement with form. The artist will open a solo exhibition at the Institute of Contemporary Arts (ICA), London, in early February. Additionally, Venezuelan artist Juan Araújo is featured in the exhibition Hommage à Christian Bérard at Galleria Continua in Matignon, presenting a series of hyperrealistic paintings that pay tribute to the enigmatic and poetic figure of Bérard.
Fernanda Gomes also presents a new exhibition in Paris, on view until 25 October 2025, across Galerie Peter Kilchmann and Peter Freeman, Inc., marking her first solo project in the city in over a decade. Fernanda Gomes will be honored with a major solo exhibition at the renowned Dia Beacon in the United States in 2027, underscoring her historic significance within the lineage of Minimal Art.
Laura Lima
Disco Voador [Flying Saucer] #32, 2025
Tempered glass, aluminum, stainless steel and stone
70 x 80 x 80 cm
Mendes Wood
Mendes Wood reports strong activity at Art Basel Paris 2025, with significant interest from collectors, underscoring the global demand for the gallery’s roster of innovative Brazilian and international artists.
The gallery also highlights its current Paris exhibition, It’s important to have ur fangs out at the end of the world by Precious Okoyomon, on view through January 17. The artist’s first solo show at the gallery features new works exploring ecosystems, dreams, and the poetic intersections between fragility, care, and transformation.
Okoyomon is also part of the 36th São Paulo Bienal with the site-specific installation Sun of Consciousness. God Blow Thru Me – Love Break Me, 2025. The Zen-inspired work immerses visitors in a lush garden of plants, mosses, scents, and sounds, creating a contemplative space that merges nature and art.
International Galleries
White Cube
Following the momentum of last year’s Art Basel Paris, the gallery reported the sale of a large landscape painting by Marina Rheingantz for $220.000 to an institution, a testament to the artist’s growing recognition in the international art market. Her waiting list continues to expand, reflecting strong collector demand. Notably, Rheingantz recently held the institutional exhibition Mirage at the Musée des Beaux-Arts de Nîmes in France (2025).
Marina Rheingantz
Juma, 2025
Oil on canvas
190 x 250 cm
Sold: $220.000
Pace
Pace Gallery reports the sale of a small 2025 painting by Marina Pérez Simão. Characterized by vibrant colors, layered textures, and sculptural depth, her compositions offer immersive experiences that engage both the eye and the senses.
This fall, Pace Gallery in Tokyo will also present parallel exhibitions of works by Marina Pérez Simão dialoguing with Tomie Ohtake historical paintings. The shows will run from November 4, 2025, to February 11, 2026, and will inaugurate during Art Week Tokyo 2025 (November 5–9).
Marina Perez Simão
Untitled, 2025
Oil on linen
50 x 60 cm
Sold
Kaufmann Repetto
Kaufmann Repetto reports the sale of Diambe‘s Polen III, 2025, tempera on linen, for $15.000, as well as a sculpture for $8.000. The gallery highlights the artist whose practice probes the intersections of form, material, and perception. Through his distinctive approach to texture, shape, and spatial relationships, Diambe creates works that invite viewers into a dialogue between the physical and the conceptual. He recently presented Honey Honey Honey at Kaufmann Repetto, New York (2024), and Echoes of the Unseen at Galerie REVEL, Paris (2024), and a solo project at Frieze London with Galeria Simões de Assis. Diambe will also have a solo show at Kunstmuseum Basel in the first half of 2025.
Diambe da Silva
Polen III , 2025
Egg tempera on linen
89 x 60 x 4,5 cm
Sold: $15.000
Bortolami
Marina Rheingantz reinvigorates landscape painting, crafting works that serve as rich repositories of touch, emotion, memory, and gesture. Her signature style blends veil-like layers of paint with textured impasto, creating atmospheric compositions that oscillate between abstraction and representation.
The gallery reports the sale of Depois da Chuva, 2024 for $200.000, underscoring the strong demand for her work in the contemporary art market. Recent solo exhibitions include Iris at Bortolami Gallery in New York (2025) and the Williams College Museum of Art, Massachusetts (2022), highlighting her growing international presence.
Marina Rheingantz
Depois da Chuva, 2024
Oil on Canvas
210 x 160 cm
Sold: $200.000
The Approach
The gallery presents an installation of six wooden sculptures by Anderson Borba, a Brazilian artist born in Santos in 1972, who lives and works between London and São Paulo. His sculptural practice explores the material and conceptual potential of wood, resulting in freestanding totems that incorporate stones and printed fragments. These works reveal an exceptionally delicate patina, evoking archaeological relics, and bear the traces of physical interventions such as carving, burning, painting, and collage.
The gallery reports the sale of one totem for $18.000 entrying the coolations of americans clients living in London. Noting that Borba’s work was recently acquired by Booth University in Chicago. This year, the artist has held solo exhibitions including Secret Ceremony at The Approach, London, and Harvest, a duo show with Marta Jakobovits at Elizabeth Xi Bauer, London. He also took part in the group exhibition Quebracorpo at Fortes D’Aloia & Gabriel, Rio de Janeiro, in 2025.
Anderson Borba
Line Body, 2025
Wood, stone, paper, pigment, oil pastel, spray paint, sawdust, cayenne pepper and shellac
171 x 26 x 14 cm
Sold: $18.000
Lisson Gallery
The gallery sold one Hélio Oiticica grupo frente painting to an American collector and has two additional works of the artist on reserve. The Tunga sculpture is currently on hold for a European collection. The gallery reports asking prices of $450.000 for Oiticica and $140.000 for Tunga.
Notably, the gallery is currently presenting an exhibition dedicated to Hélio Oiticica at its Los Angeles space (September 17 – November 1, 2025), featuring seminal gouaches, relevos espaciais, and a rare Metaesquema on canvas. Earlier this year, Oiticica’s The Invention of Colour: Magic Square #3, 1977–79/2025, became the artist’s first outdoor sculpture to be exhibited in Europe, unveiled at the Goodwood Art Foundation on May 31, 2025.
Tunga’s recent shows include Me, You and the Moon at MALBA, Buenos Aires (25 Oct 2024 – 17 Feb 2025) and Château La Coste, France (30 Sept 2024 – 5 Jan 2025).
This year, Lisson Gallery also began representing Dalton Paula, currently showing Infâncias Negras in New York (11 Sept – 30 Oct 2025).
Tunga
Steel Pod Series, 2011
Carbon steel, stainless steel, steel cable, quartz crystal, and iron
100 x 43 x 58 cm
Asking price: $140.000
Sprovieri
Sprovieri is presenting a work by Antonio Dias from his celebrated series The Illustration of Art, offered at an asking price of €250.000. Last week, the gallery in London inaugurated a solo show dedicated to the artist, featuring around ten works from the same series, all formerly part of Joe Marconi’s collection, Marconi being Dias’s gallerist in the 1970s, when the artist settled in Milan. The exhibition proved a success, with several paintings sold between €200.000 and €450.000 for the larger formats. The presentation of this collection will continue its journey to Galeria Gomide & Co in São Paulo before concluding at Ortuzar Projects in New York.
Victoria Miro
Maria Nepomuceno and Adriana Varejão are featured in the gallery’s presentation, offering contemporary perspectives on memory, identity, and Brazil’s rich cultural history.
Maria Nepomuceno creates vibrant, tactile sculptures and installations, combining traditional craft techniques with contemporary forms. Her work evokes Brazilian culture and traditions, including landscapes, animals, and festive rituals. Recent exhibitions include Nasci de uma flor at Nichido Contemporary Art, Tokyo (2024).
Adriana Varejão works across painting, sculpture, and installation, incorporating ceramics, tiles, and architectural motifs to reflect on Brazil’s colonial history and cultural identity. She recently presented Don’t Forget, We Come From the Tropics at The Hispanic Society Museum & Library, New York (2025), and will represent Brazil at the upcoming Venice Biennale.
Maria Nepomuceno
Murano – Paquetá, 2024
Murano glass, braided straw, beads, resin, wood, acrylic paint and fabric
85 x 110 x 16 cm
Mennour
In its booth, the gallery features Sidival Fila, a Franciscan friar who works with discarded materials, particularly fabrics such as linen, cotton, silk, and brocades. Fila seeks to free objects from their material condition and give voice to their history, exploring the memory and time embedded within materials. His recent exhibitions include a solo show at Fondazione Memmo, Rome, in 2025, and A Rose is a Rose is a Rose at Mennour, Paris, in 2024.
Sidival Fila
Metafora Biando 12, 2025
Damask cotton (second haif of the 20th century), sewn on canvas, on stretcher
169 x 234 cm
Asking Price: $140.000
Luhring Augustine
Luhring Augustine presents works by three seminal Brazilian artists, Lygia Clark, Tunga, and Lucia Nogueira, whose practices collectively redefine the boundaries between body, object, and perception. The gallery has already sold several of Lucia Nogueira’s drawings, confirming the strong interest in her work. Earlier this year, Luhring Augustine’s Chelsea space hosted Lucia Nogueira: Ends Without End (January 17 – February 22, 2025), a solo exhibition highlighting the artist’s poetic use of found objects and her exploration of tension between the familiar and the unsettling.
The Lygia Clark: Retrospective, which opened at the Neue Nationalgalerie in Berlin, will next travel to the Kunsthaus Zürich, on view from 14 November 2025 to 8 March 2026. The exhibition gathers around 150 works spanning Clark’s career, from the 1950s to the 1980s, including geometric paintings, participatory sculptures, and performances. Sophie Su Art Advisory will attend the Zurich opening; anyone interested in joining can contact us via WhatsApp by clicking the button in the bottom-right corner.
Lygia Clark
Modulated Space, 1958
Cardboard collage
45 x 50 cm
Asking Price: $ 125.000
François Ghebaly
Paulo Nimer Pjota combines symbols and narratives from different cultural contexts in paintings on canvas and found metal sheets. His work functions as a visual archaeology of contemporary experience, reflecting on identity and collective memory. Recently, Pjota presented, Na Boca do Sol at Mendes Wood (2024) his first solo show in New York and A Lua e Eu at Kunstinstituut Melly, Rotterdam, Netherlands (2025).
Paulo Nimer Pjota
Julia 37 semanas, 2024
Oil, tempera and acrylic on canvas
209 x 161 cm
Asking Price: $45.000
Andrew Kreps
In its Art Basel Paris presentation, Andrew Kreps Gallery reveals Erika Verzutti’s singular world, where everyday objects, natural and digital, become sculptural gestures, merging material exploration with poetic imagination. Her sculpture Naked Venus is on view at Sculpture in the Park, Compton Verney, UK, through 2 May 2027.
Erika Verzutti
Amazonino, 2024
Ceramic stoneware and oil
paint
40 x 40 x 8 cm
Asking Price: $40.000
Peter Freeman
Peter Freeman exhibits works by Fernanda Gomes, whose practice explores subtle interventions in space, material experimentation, and the poetic potential of everyday objects. Through delicate gestures and refined compositions, Gomes transforms ordinary materials into evocative narratives that bridge minimalism, conceptual rigor, and sensory experience.
Her solo exhibition is on view at Peter Freeman Inc. & Galerie Peter Kilchmann, Paris, from 13 September till 25 October 2025.
Fernanda Gomes
Untitled, 2018
Wood, paint
50 x 50 x 2.8 cm
Emanuela Campoli
On view at Emanuela Campoli’s booth, two Leda Catunda work captivates with its vibrant interplay of exture and form for an asking price of $60.000. She is currently featured in I like to like what others are liking, the most comprehensive solo exhibition of her work outside Brazil, presented by Sharjah Art Foundation, in the United Arab Emirates, on view until February 2026.
Leda Catunda
Terra Dourada, 2025
Acrylic on tarpaulin and velvet
100 x 82 cm
Asking Price: $60.000
Fonds d'art Contemporain - Paris Collections
Every year, the City of Paris supports contemporary artistic creation through its acquisition policy. In 2025, following the acquisition commission of the Contemporary Art Fund – Paris Collections, the City added 51 works by 43 artists to its holdings, which now comprise more than 23.400 works. The total budget for this year amounted to €180.000, of which €10.000 was allocated to acquisitions for the College Collection commission.
A selection of the Fonds d’art contemporain – Paris Collections’ new acquisitions is on view at Art Basel Paris 2025, with a dedicated stand at the fair. Among the 18 artists represented, Livia Melzi stands out with Self-Portrait II. In this work, the artist turns her camera toward Glicéria Tupinambá, an Indigenous artist of Tupi heritage, who appears wearing a red-feathered cape, a contemporary recreation of the sacred Manto Tupinambá.
The manto was traditionally worn by Tupinambá chiefs during rituals and ceremonies as a symbol of power and prestige. Considered a sacred object, it embodies spiritual connection and ancestral wisdom. After more than 400 years, Glicéria Tupinambá became the first person to reproduce the original feather mantle, reviving an ancestral tradition that had nearly vanished.
In addition to her artistic work, Glicéria is an activist for Indigenous rights and the preservation of Tupinambá culture. In 2024, she represented Brazil at the 60th Venice Biennale, renaming the Brazilian Pavilion the Hãhãwpuá Pavilion in honor of spiritual entities from Tupinambá tradition. She also led the “Manto em Movimento” project, bringing Tupinambá mantles to cultural spaces in São Paulo to foster dialogue on the restitution of Indigenous cultural objects.
Livia Melzi
Self-portrait II, Tupi or not Tupi series, 2022
Color print on satin paper
125 x 101 cm
The New Fondation Cartier and the Brazil that Enchants Paris
Paris recently gained a new epicenter of contemporary art: the Fondation Cartier pour l’art contemporain opened its new headquarters at Place du Palais-Royal, hosting around 600 works by over 100 artists in the group exhibition Exposition Générale. Among them, 14 Brazilian artists, about 14% of the total lineup, stand out, bringing a vibrant rhythm and emotional depth that highlight the strength and diversity of Brazil’s contemporary creation.
The presence of Brazilian artists at the Fondation owes much to long-standing support from collectors and curators, notably Gilberto Chateaubriand, who has been part of the Fondation’s collection council since its early years, and to the vision of Hervé Chandès, who became General Director in 1994. Chandès orchestrated numerous ambitious exhibitions during his nearly 30-year tenure, many featuring Latin American artists, and announced his departure at the end of 2024 after 39 years with the Fondation.
Over the decades, the Fondation has presented important exhibitions dedicated to Latin American art, fostering a continuous dialogue between Brazil and the global scene. Brazilian artists featured in Exposition Générale include Adriana Varejão, Claudia Andujar, Solange Pessoa, Luiz Zerbini, Santídio Pereira, Bruno Novelli, Véio (Cícero Alves dos Santos), Izabel Mendês da Cunha, Asque Eurides Modesto Gómez, Ehuana Yaira, Joseca Yanomami, the Huni Kui Artists’ Movement, Jaider Esbell, and Alex Cerveny.
Among them, Bruno Novelli stands out as one of the most internationally active Brazilian artists of his generation. He was featured in Les Vivants – Living Worlds (2022), curated by Hervé Chandès at the Fondation Cartier, and in Siamo Foresta (2023), presented at Triennale Milano in Italy, a curatorial project by Chandès and anthropologist Bruce Albert exploring the interconnection between art and the living world. In 2025, Novelli continues his Parisian trajectory with two concurrent shows: Cosmogonias Brasileiras at Galerie Nathalie Seroussi and Onde Nasce o Rio, a solo exhibition curated by Chico Soll at Baró Paris.
Frieze Masters & London
In the shadow of a shifting art map, London’s 2025 edition of Frieze unfolded with a subdued calm, reflecting a cautious market mood. The recent closure of major galleries and the departure of key collectors have reshaped the city’s cultural tempo, signaling that the British art scene is in a period of reinvention. For five days, Regent’s Park became a laboratory of resilience, revealing how galleries and artists are recalibrating within an increasingly decentralized global market.
Across both fairs, a distinct “material turn” could be felt. Galleries favored tactility over spectacle, privileging ceramics, glass, textiles, and organic matter—a collective move to reconnect making with meaning. Among the highlights, the curatorial section Echoes in the Present, organized by Dr. Jareh Das, stood out for its coherence and urgency. The project traced artistic lineages between Brazil, Africa, and their diasporas, emphasizing shared histories of displacement, craft, and spirituality. Here, art emerged as connective tissue—a means to reimagine belonging through material and memory. It was perhaps the clearest indication that Frieze’s continued relevance rests less on market dominance than on its ability to sustain dialogues that transcend it.
Brazilian galleries responded to this moment with clarity and conviction. Portas Vilaseca presented Guatemalan artist Antonio Pichillá, whose exploration of Indigenous textile traditions as acts of ecological resistance resonated powerfully within this material discourse. Fortes D’Aloia & Gabriel, Simões de Assis, and Mitre offered perspectives that bridged local roots with global conversations, affirming Brazil’s role not as an outlier, but as a vital pulse within the international art system.
Almeida & Dale
For Frieze Masters 2025, Almeida & Dale presented a selection of drawings and paintings that reflect Eleonore Koch’s deep connection with the British capital, particularly her frequent explorations of Regent’s Park and the country’s coastline. The works produced during the two decades she lived in England, from 1968 to 1989, reveal the maturity and autonomy she achieved, highlighting the internal logic that structures her practice into a cohesive and unmistakable body of work. The gallery reports the sale of two vases of flowers paitings, along with a work on paper, while other pieces remain under negotiation.
Fortes D’Aloia & Gabriel
Fortes D’Aloia & Gabriel reports several sales during the fair, with prices ranging between $37.000 and $45.000. The gallery presented a solo project by Tadáskía in the section Echoes in the Present, which received an excellent response. The artist was recently awarded the K21 Global Art Award 2025 by Kunstsammlung Nordrhein-Westfalen and opened a solo exhibition at the museum in Düsseldorf. In addition, Tadáskía was included in the TIME100 Next 2025 list by TIME magazine, which highlights emerging global figures of influence.
Mapa
The booth featured two Brazilian artists: Ivan Moraes, whose work focuses on practices of recovery and memory, and Abdias Nascimento, a celebrated figure whose painting graced the cover of the Frieze Magazine issue dedicated to the fair. The article drew a connection between Nascimento’s work and the exhibition Nigerian Art Now, on view in London, highlighting the period during which the artist lived in exile in Nigeria before moving to the United States.
Ivan Moraes’ works also attracted significant interest, with sales to collectors in the London market—an unprecedented achievement for the artist. This success reinforces the expansion of his international trajectory: Elizabeth Xi Galerie, in London, which recently presented a successful show of Jandyra Waters, is preparing a solo exhibition of Ivan Moraes for early 2026, in partnership with Mapa Gallery.
Portas Vilaseca
The gallery consider the debut at the fair very positive with some works were sold, and other negotiations are ongoing, with the gallery highlighting the visibility gained as the only one in the main sector. While still becoming familiar with the local market, valuable contacts were made, and the gallery received media attention. The participation is seen as a gradual investment, aimed both at strengthening presence and supporting future sales.
While comparisons with Art Basel Paris were inevitable, Simon Fox, CEO of Frieze, perfectly captured the mood with his “Barbenheimer moment” analogy: a rivalry giving way to complementarity. Collectors and curators circulated fluidly between the two capitals, confirming that the true movement lies not in competition, but in interculturality and the exchange of ideas. Nevertheless, the tone in London was more introspective, a fair that looked inward to reaffirm its cultural role, rather than simply pursuing commercial peaks.
On the other hand, in Paris, we saw not necessarily a resurgence of market euphoria, but rather a reaffirmation of institutional power, global reach, and curatorial confidence: the structure is robust, and the French capital seems willing to assume the international leadership role that befits it.
If in London the priority was the question “what kind of art world do we want to sustain?”, in Paris the question seemed to extend more to “on what scale and with what reach will we do it?” The combination of these two fairs, far from strictly competing, points to something more interesting: a hybrid synergy, where London challenges the market to ask more difficult questions, and Paris offers the global stage where these questions resonate.
For Brazil, 2025 was a year of strategic visibility and cultural celebration. The Brazil-UK Year and the Brazil-France Year created a unique context for national artistic production, placing Brazilian artists in the spotlight in both London and Paris. Exhibitions, projects, and collaborations demonstrated the strength of Brazilian art as an expression of identity, narrative, and intention, occupying international spaces with soul, consistency, and prominence. More than just being present, Brazilian art asserted itself as an active part of the global dialogue, showing that its relevance goes far beyond fleeting trends.