From an international standpoint, the cooling sentiment is equally apparent: only ten works surpassed the USD 1 million mark, with the highest result, a work by Andy Warhol, reaching USD 18 million, followed by a Gerhard Richter painting at USD 5.5 million. Beyond these isolated highlights, the rest of the transactions were notably restrained, modest in both price levels and volume by Art Basel Miami standards.
In this atmosphere of muted demand and shifting priorities, analysing what actually sold, particularly regarding Brazilian artworks becomes essential. Understanding these results allows us to reflect on the current positioning and future trajectory of Brazilian art in Miami, and to question the role of a fair increasingly overshadowed by Paris, now emerging as a more dynamic and influential hub for the global art market.
ART BASEL MIAMI
Brazilian Galleries
Gomide & Co
Gomide & Co reports strong sales at Art Basel Miami Beach 2025, including a pair of paintings by Glauco Rodrigues sold for $120.000, a work by Mira Schendel for $180.000, another Glauco Rodrigues for $120.000, an Amadeo Luciano Lorenzato for $150.000, and a sculpture by Megumi Yuasa for $50.000, as well as additional reserved works by Amadeo Luciano Lorenzatto and Megumi Yuasa.
Building on this momentum, the gallery presents a thoughtful and cohesive selection centered on nature, ancestral memory, and the ways artists perceive and inhabit landscape—both natural and constructed. The presentation reflects on territory as a site of transformation, where matter, culture, and history intersect. The booth highlights how artists reinterpret the notion of landscape through Indigenous knowledge, local traditions, and contemporary experience, revealing tensions between permanence and change, the natural and the urban, the past and the present.
The gallery also presents two historically significant works: Adriana Varejão’s Ruína de Charque – Cidade de Deus, 2002 and Cildo Meireles’s Corner [Canto] from the Espaços Virtuais series, each offered at $2.2 million.
Glauco Rodrigues
‘Laranjas e bananas’, 1968
Acrylic on canvas on hardboard
64.77 × 76.2 cm
Sold
Adriana Varejão
Ruína de Charque – Cidade de Deus, 2002
Oil on wood and polyurethane
234.5 x 111.5 x 65 cm
Asking Price: $2.2M
Cildo Meireles
Corner, from the Espaços Virtuais series, 1967/1975
Oil on canvas, wood, and parquet
305 x 100 x 75 cm
Asking Price: $2.2M
Almeida & Dale
Almeida & Dale reports strong results at the fair, with sales including works by Heitor dos Prazeres for $108.000, Lygia Pape for $70.000, Maxwell Alexandre for $31.000, and Maya Weishof for $34.000. The booth presents a standout selection of modern and post-concrete artists, featuring pieces by Rubem Valentim (R$475,000–900,000), Amadeo Luciano Lorenzato (R$300,000–575,000), a remarkable Mira Schendel monotopy priced at $800.000, and a 1901 Pablo Picasso canvas offered at $1.7M, reinforcing the gallery’s position as a leader in museum-quality Brazilian art and its dialogue with the international avant-garde.
This vision extends into the gallery’s curatorial program with Echoes and Mirages, part of the Transoceanic Perspectives initiative, which explores resonances between artistic practices in Brazil and Southeast Asia. The exhibition highlights how movement, refraction, and material translation can create poetic connections across cultures, “echoes and mirages” that reveal affinities within difference.
Nara Roesler
Collectors responded enthusiastically to Nara Roesler’s presentation, resulting in the placement of works by Tomie Ohtake’s painting from 1982 for $240.000, Sheila Hicks’s Uirapuru for $220.000, and Artur Lescher’s Zurigo for $67.000, alongside notable interest in works by Asuka Anastacia Ogawa, Karin Lambrecht, and Marco Castillo.
The gallery also showcases Moon, 2024 by Not Vital, a stainless-steel sculpture meticulously hand-hammered to evoke crater-like forms. Its reflective surface shifts the viewer’s perception and surrounding environment, echoing the artist’s long-standing fascination with the moon. Moon is presented both at the gallery’s booth and at the Museu de Arte Contemporânea de Niterói, where Not Vital’s solo exhibition Tirando Onda is currently on view, reinforcing his global institutional presence.
Isaac Julien, another artist showcased by the gallery, is currently on view at MASP with A Marvellous Entanglement, his major installation honoring Lina Bo Bardi, presented for the first time in Brazil. The work engages directly with Bo Bardi’s iconic architecture, including MASP and SESC Pompeia.
Simões de Assis
Simões de Assis begins the fair with strong momentum, driven primarily by the exceptional performance of Thalita Hamaoui, whose growing international visibility continues to attract highly engaged collectors. The gallery placed several of her works during the fair, reaffirming her strong demand and the consistency of her market. Represented by Simões de Assis for five years, Hamaoui has rapidly expanded her global footprint: following a major exhibition at Marianne Boesky Gallery in New York, her works have entered collections in the United States, London, Saudi Arabia, and Latin America. With prices ranging from $20,000 to $70,000 and a steady waiting list, she also maintains institutional visibility, with works currently on view at Espacio 23 and upcoming exhibitions scheduled in China and Brazil.
Other contemporary artists presented by the gallery also achieved strong results, including Gabriel De La Mora (priced at $30,000–90,000) and Zé Palito ($15,000–60,000), both of whom sold out. This renewed collector appetite for younger voices and more accessible price points reflects a broader market shift observed across the fair, particularly among Latin American and U.S. buyers.
While contemporary artists drove much of the week’s energy, Simões de Assis also underscored the enduring relevance of historical masters in its program. Works by Soto, Palatnik, Hélio Oiticica, and Sergio Camargo continued to attract institutional attention—especially with Oiticica’s upcoming exhibition at Dia Beacon—reinforcing the gallery’s dual positioning across generations of Latin American art.
Closing the week, the gallery marked an important historical placement with the sale of a painted white wooden sculpture from 2011 by Emanoel Araújo to a U.S. collection. A central figure in Brazilian art, Araújo is represented in major institutions such as MASP, Pinacoteca de São Paulo, and MAM Rio, and recently received renewed visibility with the 2022 MASP retrospective A Ancestralidade dos Símbolos.
Galatea
Galatea reports strong results at the fair, including the sale of a major work by Antônio Dias for $200.000–350.000, Jaider Esbell for $50.000–100.000, as well as works by Ivan Serpa for $40.000–80.000, Dalton Paula for $40.000–70.000, two works by Mucki Botkay for $20.000–30.000 each, Dani Cavalier for $10.000–15.000, Gabriel Branco for $5.000–10.000, and Arthur Palhano for $4.000–7.000.
Building on this momentum, the São Paulo–based gallery now presents one of the most valuable Brazilian works at the fair: Adriana Varejão’s The Guest, a masterpiece from the celebrated Saunas series. Offered at $1.6M, the painting, where a subtle bloodstain disrupts an all-white tiled environment, arrives at a pivotal moment in the artist’s career. Varejão has just been announced as Brazil’s representative at the 2026 Venice Biennale, a nomination that reinforces her institutional centrality and is expected to catalyze renewed demand from both museums and top-tier collectors.
Antonio Dias
The Living Space, 1970
Acrylic on canvas
50 x 50 cm
Sold
Raquel Arnaud
A highlight of Galeria Raquel Arnaud’s participation was the sale of an Esfera by Jesús Rafael Soto for $100.000–150.000, a painting by Wolfram Ullrich for $40.000–50.000, works by Carla Chaim for $10.000–15.000, Iole de Freitas for $20.000–30.000, and two pieces by Marina Weffort, placed respectively for $5.000–10.000 and $10.000–15.000.
Celebrating over half a century of activity, the gallery presents a booth centered on constructive, kinetic, and contemporary practices, solidifying the gallery’s historic contribution to these movements in Brazil and abroad. The presentation includes a sculpture by Sergio Camargo priced at $270.000, along with works that emphasize geometry, light, material exploration, and the lineage of formal rigor that defines the gallery’s program.
Jesús Rafael Soto
Maquette de la sphère lutétia,
1995/2014
Plexiglas and painted metal
55 x 45 x 45 cm
Sold
Vermelho
A positive reception at Galeria Vermelho resulted in the sale of a work by Chiara Banfi for $40.000 a tapestry by Ximena Garrido-Lecca for $35.000. and pieces by Edgard de Souza ranging from approximately $3.000 to $85.000. At the fair, the gallery presents a constellation of conceptual artists whose practices interrogate politics, public space, urban structures, and collective memory. Works by Carmela Gross, Iván Argote, Marcelo Cidade, and Dora Longo Bahia shape a booth that remains faithful to Vermelho’s experimental and critically engaged identity.
Several of these artists have mounted notable exhibitions in 2025: Iván Argote presented COM A BOCA at Vermelho in September 2025. Carmela Gross’s ongoing presence in critical institutional discussions remains strong, particularly after her exhibition Quase Circo at SESC Pompeia. Meanwhile, Dora Longo Bahia participated in the exhibition Rahj al-ġār at Vermelho earlier in 2025.
Chiara Banfi
Magdalena da série portais, 2025
Watercolor on 300g cotton paper
214 x 234 cm
Sold
Ximena Garrido-Lecca
Core Systems V, 2025
Woven copper and wool
192 x 124 cm
Sold
Verve
Galeria Verve achieved a complete sell-out with its solo presentation of Adriel Visoto, whose works were priced between $9.000-30.000. Born in the interior of Minas Gerais and academically trained in photography, with a master’s degree, Visoto works with a delicate velatura technique, layering translucent glazes inspired by Dutch painting traditions. This slow, meticulous process gives his canvases their atmospheric depth, where fragments of daily life emerge like entries in an intimate visual diary.
The series presented in Miami was created during Visoto’s recent residence at Residency Unlimited, Brooklyn, New York, and quickly drew significant attention from collectors. A French patron currently building a Venetian foundation acquired several works, alongside additional purchases by a prominent New York–based collector. Further acquisitions placed Visoto’s pieces into collections in Belgium and Switzerland, underscoring the growing international reach of his practice. Demand for Visoto has been steadily rising: his earlier series, shown at Untitled three years ago, also sold out, and his paintings already maintain a waiting list.
Institutional recognition has accelerated just as rapidly. MASP director Adriano Pedrosa recently commissioned seven paintings for the museum’s LGBTQIA+ history project, three of which were donated by Alfredo Setubal, Ana Eliza Setubal and Daniela Villela. At ArtRio 2021, Visoto entered the collection of MAR through a donation by the Argentinian collector Frances Reynolds, followed by additional gifts from Michel and Luciana Farah.
Looking ahead, Visoto is slated for a major institutional exhibition in Brazil next year, presented alongside another Brazilian artist in a curatorial pairing designed to highlight the photographic foundations that underlie his painterly language.
Mapa
Galeria MaPa presents a booth dedicated to Firmino Saldanha, a key figure of Brazilian modernism. Trained in architecture at the Escola Nacional de Belas Artes, Saldanha developed a parallel career as a self-taught painter, producing a distinctive body of work marked by geometric abstraction, vibrant color, and rhythmic compositional structures. His trajectory includes participation in the 1st São Paulo Biennial (1951), exhibitions at the Musée d’Art Moderne de la Ville de Paris, and shows across Europe throughout the 1950s and 1960s.
In recent years, his work has gained renewed visibility, including a sold-out presentation at Frieze Masters London (October 9–13, 2024), which helped reposition Saldanha within the international canon of mid-century abstraction.
At Art Basel Miami Beach, interest was immediate: the gallery placed its first work with a Florida-based architect, and three additional reservations are currently underway. Works on view range from $20.000 to $60.000, reflecting both historical relevance and renewed market attention for his artistic legacy.
Saldanha’s works already form part of several international collections, as well as important Brazilian institutional holdings. His paintings are displayed in multiple Brazilian embassies, including those in Rome and Sweden, and one of his largest and most emblematic canvases is housed in the Palácio do Planalto, underscoring his enduring relevance within both national and diplomatic contexts.
Firmino Saldanha
Untitled, c. 1950/60
Oil on wood
97 x 49 cm
Sold
Marilia Razuk
Marilia Razuk Gallery, sold a work from Johanna Calle for $40.000, as well as a painting by Ana Sant’Anna, in the $2.000, both of which drew early acquisitions. With a powerful curatorial vision that highlights the vitality of contemporary Latin American Art, the gallery brings together emerging and established voices in a dialogue that spans territory and environmental consciousness. The booth features works by Tunga, Seba Calfuqueo, Johanna Calle, Maria Laet, Thiago Rocha Pitta, Débora Bolzsoni, Carolina Colichio, Ana Sant’Anna, and Anália Moraes, weaving narratives that explore the ancestral and the experimental, the cyclical and the ephemeral.
The gallery also highlights the presence of Chilean artist Seba Calfuqueo, whose work arrives at the fair directly after being featured in the Bogotá Biennial, bringing fresh institutional visibility to the booth.
Casa Triângulo
Casa Triângulo focuses on leading names in contemporary painting and sculpture. The booth includes paintings by Eduardo Berliner, offered around $21.000 and soon to have a solo exhibition at Labor Gallery, Mexico City, in February during ZONA MACO; a monumental sculpture by the Portuguese artist Ascânio MMM, presented at $170.000; and a major work by Joana Vasconcelos, priced at $120.000. The gallery also highlights the strong institutional visibility of assume vivid astro focus (AVAF), currently featured in the immersive exhibition assume vivid astro focus: XI, 2024 at The Bass Museum of Art, Miami Beach. In addition, historical Brazilian artist Antônio Henrique do Amaral, long associated with Casa Triângulo, is represented in major international collections, including the Metropolitan Museum of Art in New York.
A Gentil Carioca
A Gentil Carioca begins the fair with a notable placement: a work from Agrade Camiz was sold to a private museum. The gallery brings a vibrant and politically attuned presentation, featuring artists who engage with themes of identity, popular culture, affection, and social critique. The selection, available through its private view, includes new works by Maxwell Alexandre, who continues to expand his international footprint; Vivian Caccuri, whose recent institutional projects have strengthened her global presence; and Marcela Cantuária, fresh from her first international solo exhibition at the Pérez Art Museum Miami (PAMM). Alongside them, João Modé and others reaffirm the gallery’s role as one of the most influential voices in the contemporary Latin American scene.
Zielinsky
Zielinsky, a gallery with spaces in Barcelona and São Paulo, known for its focus on geometric abstraction, conceptual practices, and Latin American political art, presents Los panameños del parque de Miami in the Positions sector of Art Basel Miami Beach, a solo presentation by Chinese-Afro-Panamanian artist Cisco Merel, who represented Panama at the Venice Biennale last year. The gallery achieved a sold-out booth, placing seven works for approximately $15.000 each, now entering collections across the United States, Spain, Peru, Italy, Brazil, and Venezuela. Merel, whose work is held in the Pérez Art Museum Miami (PAMM) and the Museo de Arte Contemporáneo de Panamá, and who recently had a solo exhibition at the Kunsthalle Lissabon, continues to expand his institutional presence.
The booth features a participatory installation referencing the construction of quinchas, traditional Panamanian houses built collectively in a single day by rural communities. The flags honor the padrinos who contribute materials, labor, and celebratory drinks, which appear in the installation as symbols of communal generosity. Alongside it is a mural composed of Panamanian and Miami mud, and new paintings from Merel’s Hiperlíticos series, imagined monolithic structures that, if realized materially, could never stand upright. Their engineered impossibility becomes a metaphor for the fragile and unstable equilibrium of Latin American geopolitics, a balance that remains unresolved in reality yet appears harmonized within the idealized space of painting.
Luciana Brito
The gallery brings to the fair a dynamic selection of influential Brazilian and Latin American artists. Recent institutional highlights include Waldemar Cordeiro, featured in the retrospective Fantasia Exata (Itaú Cultural, 2022); Geraldo de Barros, presented in What Remains (Photo Elysée, Lausanne, 2022); and Regina Silveira, whose large survey Limiares toured Brazilian institutions (2020–2021). Caio Reisewitz continues to expand his presence with exhibitions such as Amazonia: A World in the Making (National Museum of Singapore, 2022–2023).
The booth also features artists with strong recent visibility, including Marina Abramović (Royal Academy of Arts, London, 2023), Héctor Zamora (Metropolitan Museum Roof Garden, 2020), Liliana Porter (Other Situations, El Museo del Barrio, 2017–2018) and Leandro Erlich, whose retrospective Liminal at the Mori Art Museum (2019–2020) continues to shape his international profile and who now has four new works entering the Margulies Collection in the Wynwood district of Miami. These institutional trajectories reinforce a presentation that bridges modernist legacies and contemporary experimentation.
International Galleries
Sikkema Malloy Jenkins
Sikkema Jenkins & Co. marks the fair with the sale of a major painting by Luiz Zerbini for $340.000, underscoring the heightened international demand for the Brazilian artist’s work. A leading figure of the Geração 80, Zerbini is known for his expansive pictorial universe, where nature, urban landscape, geometry, and luminosity intertwine in densely layered compositions. His institutional visibility has grown significantly in the past two years: the large retrospective Paisagens Ruminadas travelled through CCBB Brasília and CCBB Rio de Janeiro in 2024, and in 2025 the artist is featured at Art Basel Unlimited in Basel, Switzerland, with the monumental installation Os Comedores de Terra, presented in collaboration with Fortes D’Aloia & Gabriel. This continued institutional and curatorial presence reinforces Zerbini’s position as one of the most influential Brazilian painters of his generation.
200 x 400 cm
Victoria Miro
Victoria Miro Gallery reports the sale of a work by Adriana Varejão for $200.000. The timing is notable: Varejão has recently mounted several major shows, in 2024–2025 she exhibited at Hispanic Society Museum & Library in New York with Don’t Forget, We Come From the Tropics, introducing new works from her Plate series along with a site-specific sculptural intervention. Hispanic Society Museum and Library. She also took part in a significant 2025 exhibition at Centro de Arte Moderna Gulbenkian in Lisbon, in a show pairing her work with that of Paula Rego.
70 x 70 cm
Thomas Dane & Bortolami
Thomas Dane Gallery and Bortolami share booth G23 this year, each presenting a distinct yet complementary selection. Bortolami sold a 2017 painting by Marina Rheingantz, a work outside the artist’s recent, highly sought after series that currently command long waiting lists, for an impressive $150.000 while Thomas Dane Gallery placed a work by Alexandre da Cunha for $75.000 and has a Patricia Leite currently on reserve. Together with Beatriz Milhazes, these presentations underscore the strength and diversity of contemporary Brazilian art within the fair’s landscape.
Marina Rheingantz
Note, 2017
Oil on linen
100 x 90 cm
Sold
Alexandre da Cunha
Vitral (Crescent), 2025
Shovel handles, umbrellas, bedsheets
200 x 200 x 5 cm
Sold
Lisson
Lisson Gallery presents works by Dalton Paula, the Estate of Hélio Oiticica, and the Estate of Tunga, all of whom have received renewed institutional attention in recent years. A work by Dalton Paula, offered at an asking price of $200.000, reflects the growing demand for his practice. The artist recently presented the exhibition Dalton Paula: Infâncias Negras at Lisson Gallery, further strengthening his international visibility.
Hélio Oiticica has been the focus of major exhibitions, including the first large-scale presentation dedicated to him in Los Angeles and an upcoming show at Dia Beacon in December 2025. Tunga’s work has likewise gained international prominence through the exhibition Tunga: Me, You and the Moon at MALBA in Buenos Aires (2024–2025).
Dalton Paula
Gênese, 2025
Oil and silver leaf on canvas
180.3 x 160.3 x 4.1 cm
On Hold
Estate of Hélio Oiticica
Untitled (Grupo Frente), 1955-56
Gouache on masonite
33.3 x 39.1 x 0.3 cm
Luhring Augustine
The gallery presentation includes two major works by Lygia Clark, Planos em Superfície Modulada on paper and a Bicho’s sculpture from 1960. Clark whose international visibility continues to rise following the landmark retrospective currently on view until 08 march at the Kunsthaus Zürich. Organized in collaboration with the Neue Nationalgalerie Berlin, the exhibition is the first devoted to Clark in a German-speaking country and the most comprehensive since MoMA’s 2014 survey. Curated by Irina Hiebert Grun, Maike Steinkamp, and Cathérine Hug, the show brings together around 120 historical works from key collections across Brazil, the United States, and Europe, alongside 50 participatory pieces recreated by the Associação Cultural O Mundo de Lygia Clark, inviting visitors to experience firsthand the artist’s radical, process-driven approach to art.
Travesía Cuatro
Travessia Cuatro brings together a wide group of international artists, among which we highlight three essential Brazilian voices: Eleonore Koch, known for her precise and contemplative compositions; Ana Prata, whose contemporary painting blends humor, gesture, and formal freedom; and Miriam Inez da Silva, a pioneering figure whose work asserts the strength of an Afro-Brazilian female perspective within modernism.
Notably, Ana Prata participated in the group exhibition Vai, vai, saudade in 2024 at the Museo Madre in Naples, curated by Cristiano Raimondi, shown alongside Eleonore Koch, further reinforcing the intergenerational dialogue between the two artists within contemporary institutional contexts.
Tanya Bonakdar
Tanya Bonakdar Gallery highlights two Brazilian artists this year: Ernesto Neto and Sandra Cinto.
Ernesto Neto arrives at the fair with strong momentum following his recent monumental installation at the Grand Palais in Paris, where he unveiled an expansive immersive environment exploring spirituality, the body, and humanity’s interdependence with nature. His installation Tambor Drum Respira Vida Breathing Life, 2025 is offered at an asking price of $90.000.
Sandra Cinto, meanwhile, enters the fair with a notable boost in secondary-market visibility. In November 2025, her work Vôo II, 2022 achieved $63.500 (with buyer’s premium) in Sotheby’s Contemporary Day Auction in New York. As Cinto is not frequently represented in major international auction sales, this milestone marks a meaningful moment in the evolution of her market, signalling rising global recognition and expanding her visibility beyond the institutional sphere.
Her renewed momentum also follows a series of recent exhibitions, including her solo show Prelude to the Sun in Los Angeles and her presentation at Es Baluard Museu d’Art Contemporani de Palma, both featuring large-scale wall drawings and dreamlike landscapes that extend her poetic language across drawing, painting, and installation. At the fair, the painting Empty Heading Mountains Under the Sun, 2025, offered at $80.000, was sold, alongside an additional work placed during the preview before the fair officially opened.
Sandra Cinto
Empty heading Mountains under the Sun, 2025
Acrylic on canvas
180 x 110 cm
Sold
Ernesto Neto
Tambor Drum Respira Vida Breathing Life, 2025
Crochet with cotton fabric, conga drum, rose quartz, wooden knobs
271 x 202 x 85 cm
Asking Price: $90.000
Neugerriemschneider
Ben Brown Fine Art
Ben Brown Fine Art brings to its booth three Archival Inkjet Prints by Vik Muniz, priced between $50.000 and 60.000. The presentation comes at a moment of strong institutional visibility for the artist: Muniz recently opened a major retrospective, A Olho Nu, at the Instituto Ricardo Brennand in Brazil on 13 June 2025, with visitation running through 31 August 2025. He also showcased new works from his Threads series in Tokyo and presented Photocubism in Madrid, reaffirming his ongoing international relevance and the consistent evolution of his conceptual practice.
Harmony in Red, after Henri Matisse (Pictures of Pigment), 2005
Archival inkjet print
101.6 x 127 cm. (40 x 50 in.)
Asking Price: $60.000
Sean Kelly
Sean Kelly Gallery presents a major new painting by Janaina Tschäpe, Whisper of Streams (2025), a large-scale work in oil and oil stick on linen that encapsulates the artist’s signature exploration of invented ecologies, fluid universes where nature, memory, and mythology intertwine. While this piece has not yet been sold, the gallery notes two other pieces currently on hold, reflecting strong interest in Tschäpe’s practice at this edition of the fair.
Tschäpe, a German-Brazilian artist with a consolidated international career, has experienced a particularly strong year on the market. Across multiple international fairs, including Art Basel Paris, her works achieved multiple placements, most notably a significant sale by Fortes D’Aloia & Gabriel for $190.000, reinforcing the consistent institutional and collector demand surrounding her practice.
Her institutional visibility also continues to expand: she recently opened the solo exhibition A Gush of Wind (Atemraum) at Galerie Max Hetzler in Berlin (7 November 2025 – 31 January 2026), where immersive chromatic environments further deepen her investigation of nature and abstraction. On the secondary market, she reached a new benchmark in November 2024, when Sky for Mina, 2016 sold for $120.000 at Sotheby’s New York.
Janaina Tschäpe
Whisper of streams, 2025
Oil and oil stick on linen
243.8 x 193 x 5.1 cm
Asking Price: $160.000
Janaina Tschäpe
Whashed Morning, 2025
Watercolor and pastel on paper
139 x 232 cm
On Hold $95.000
White Cube
White Cube presents Blue Portrait by Beatriz Milhazes, a large-scale painting offered at $1.450.000. The work comes at a moment of significant institutional visibility for the artist. In 2025, the Solomon R. Guggenheim Museum in New York held Beatriz Milhazes: Rigor and Beauty, a major exhibition bringing together both historical and recent works. That same year, she opened Pinturas Nômades at the Casa Roberto Marinho in Rio de Janeiro, a landmark presentation revisiting her site-specific projects and pictorial installations created for architectural spaces around the world. In London, White Cube is currently presenting Além do Horizonte (2025/2026) at Mason’s Yard, a new solo exhibition in which Milhazes expands her exploration of color, pattern, and ornamentation across paintings, collages, and a site-specific installation, reaffirming her standing as one of the most influential Brazilian artists on the global stage.
Beatriz Milhazes
Blue Portrait, 2019
Acrylic on canvas
220 x 300 cm
Asking Price: $1.450.000
Galeria Súr
Galería Sur presents several key Brazilian figures, including Tarsila do Amaral, Lygia Pape, Madalena Santos Reinbolt, and Adriana Varejão, with particular emphasis on a major work by Varejão, offered at an asking price of $300.000, underscoring her strong international demand and institutional relevance.
Tarsila do Amaral is currently featured in the exhibition Cosmogonias Brasileiras at Galerie Nathalie Seroussi in Paris, where her iconic painting A Negra is on view through 20 December, reaffirming the enduring global resonance of her work.
Lygia Pape likewise remains in strong institutional focus, with her recent retrospective Weaving Space, presented at the Pinault Collection / Bourse de Commerce in Paris (September 2025 – January 2026), marking the first major survey of the artist in France and bringing renewed international attention to her experimental contributions to Brazilian modernism.
Adriana Varejao
Caco, 2000
Oil with plaster on canvas
55 x 25.4 cm
Asking Price: $300.000
Madalena Santos Reinbolt
Untitled, 1965 – 1976
Tapestry
79 x 87 cm
This year’s edition of Art Basel Miami unfolds under a noticeably soft market climate. The absence of million-dollar sales for historical works, once a defining feature of the fair, speaks to a broader cooling that is equally reflected in the Brazilian market, which remains closely aligned with international fluctuations. Many gallerists are now openly questioning whether the substantial costs of participating in Miami still justify the return, especially when the same investment could support impactful exhibitions and long-term career building for their artists back in Brazil.
Beyond market performance, a sense of fatigue has settled over Miami. After decades of being a mandatory stop on the global circuit, the city no longer generates the same excitement or cultural magnetism. By contrast, Paris has rapidly emerged as a more compelling destination, one that attracts collectors not only for its art scene but for its broader cultural ecosystem.
In this context, achieving only mid-range sales around USD 50.000 for contemporary works is no longer sufficient to sustain galleries operating at an international level. The combination of rising costs, diminishing cultural relevance, and muted demand suggests that Miami’s position within the global art-fair hierarchy is entering a moment of reassessment, particularly for Brazilian galleries seeking strategic visibility and long-term impact.
UNTITLED ART FAIR
Founded in 2001, Untitled Art has steadily established itself as Art Basel Miami Beach’s counterpoint, offering a dedicated platform for emerging and alternative contemporary practices. Long regarded as a strategic gateway to the international circuit, the fair has also served as an entry point for numerous Brazilian galleries, which often participate here before eventually securing a place at Art Basel.
Commercially, Untitled Art is known for its brisk pace: sales tend to follow quickly, driven by accessible price points and the sense of opportunity to acquire artists whose markets are expected to strengthen in the coming seasons.
This year, we observed an increase of two additional Brazilian galleries, as well as a growing presence of Brazilian artists represented by international galleries, particularly those based in New York, underscoring the global market’s continued interest in Brazil’s contemporary scene.
ArteFASAM
ArteFASAM presents works by Gabriela Sacchetto and Simone Fontana Reis. Curated by Giulia França, the project explores how fragments of everyday life can be collected and transformed into new narratives. While Simone Fontana Reis creates mythologies that imagine alternative ways of existing, Gabriela Sacchetto reframes elements of daily life to reveal meanings previously left unheard. The booth invites viewers to reflect on vulnerability, memory, and the ongoing construction of subjectivity.
Bianca Boeckel
For this edition, Bianca Boeckel Gallery presents a poignant dialogue between Larissa Camnev and Pietrina Checcacci, whose works reflect on the complexities, vulnerabilities, and resilience of the female body. The booth drew meaningful engagement from American collectors, with works by both artists placed in the $6.000 range.
Although the gallery reported healthy momentum overall, they noted that last year’s edition had already achieved a higher volume of sales by the third day, a telling indicator of the more measured pace characterizing Art Basel Miami 2025.
Pietrina Checcacci
Ela/Ele, 2025
Vinyl on canvas
50 x 50 cm
Ora Art
Ora Galeria presents Ignisflow, a new series by Diana Motta, from which three works have already been sold for $15.000 each reflecting the strong response to this recent phase of her practice. Inspired by Robinet and Bachelard, Motta explores fire as a force of transmutation, where gesture and energy merge. Her researc, rooted in astrology and Kabbalah, moves from figuration toward abstraction as she investigates the relationship between body and spirit. Transparency, heat, and expansion evoke a delicate threshold between the material and the immaterial, proposing an encounter between spirituality and sensuality in which the body becomes a vessel for the divine.
Diana Motta
LOVE TO THE ANGELS, 2025
Oil on canvas
152 x 180 cm
Palo
Palo Gallery will be at Untitled Art Miami Beach, showcasing Sandy Williams IV, Lewinale Havette, Manoela Medeiros and Xanthe Burdett. Brazilian artist Manoela Medeiros expands the language of painting through processes of excavation, subtraction and reconfiguration. Working with layers of paper, plaster and pigment, she carves, peels, and reassembles surfaces to reveal hidden strata, turning absence into form. Her practice reflects on memory, architecture and the passage of time, often engaging with the material remnants of buildings and urban environments. Medeiros has presented her work in institutions such as Instituto Tomie Ohtake and Paço Imperial, and her distinctive approach positions her among the most compelling voices in contemporary experimental painting from Brazil.
Manoela Medeiros
Still Life (Plants and Seeds), 2025
Acrylic paint, acrylic paste, mineral pigment, and excavation on canvas
59 × 47 cm
Asking Price: $20.000
DESIGN MIAMI
This year’s edition of Miami Design feels noticeably diminished. The absence of the major historical design galleries, long considered the backbone of the fair, has radically altered its atmosphere. In their place, one finds an accumulation of contemporary designers, often presented without curatorial depth, and an increase in commercial or brand-sponsored booths, many of which are only loosely connected to collectible design. The result is a fair that feels more stylistically fragmented and significantly less authoritative.
Brazilian design, typically a strong presence in Miami, has been particularly affected. Recent increases in shipping costs and import-pack fees appear to have discouraged many of the Brazilian galleries that were regular participants. This year, only two galleries are representing Brazilian design: Galerie Bossa (New York) and Mercado Moderno, the latter benefiting from years of maintaining inventory already stored in the United States. The other Brazilian galleries that once helped anchor Miami Design have simply not returned, a withdrawal that leaves a noticeable gap in the fair’s aesthetic landscape. Given that American collectors continue to be the primary buyers of Brazilian design, this lack of visibility raises important questions about the category’s future on the global stage.
Mercado Moderno
The gallery recorded three acquisitions: a rosewood bench by Joaquim Tenreiro sold during the VIP opening; followed in the next days by a pair of cube armchairs by Jorge Zalszupin and a low armchair by Joaquim Tenreiro, the latter placed for $15.000.
Bossa Furniture
Since its opening in New York, Bossa Furniture has established itself as a leading gallery specializing in Brazilian design, with a program that bridges historical modernist production and contemporary practices. With a solid presence in the American market, the gallery participates regularly in major international fairs, including Salon Art + Design and Frieze, reinforcing its role as a key platform for the visibility and circulation of Brazilian design in the United States. Bossa works simultaneously with vintage modernist masters and contemporary designers, fostering a dialogue between tradition and innovation that defines the gallery’s curatorial identity.
At Design Miami, Bossa Furniture presents Craft as Language, a project that arrives following a curatorial trajectory initiated in May, connecting the work of Joaquim Tenreiro and Lucas Recchia across exhibitions, fairs, and multiple cities. What began as two independent presentations has evolved into a cohesive dialogue shaped by materiality, process, and the ways in which both artists engage with space, form, and scale. This unfolding conversation positions Bossa as a vital agent in contextualizing Brazilian design within global narratives while deepening its resonance in the contemporary American landscape.
As Miami’s softened pace made clear, today’s art market rewards discernment, context and strategy. More than ever, collectors benefit from guidance grounded in research, cultural understanding and an ability to navigate both Brazilian and international landscapes with clarity. At Sophie Su Art Advisory, we support those who wish to build or refine their collections with a thoughtful and highly personalized approach, attentive to both artistic relevance and long-term vision.
If you would like to explore acquisitions, receive tailored advice, or deepen your understanding of the artists highlighted in this report, we remain available for a private consultation. Feel free to reach out to us directly via WhatsApp.