The 10 Best Booths at Art Basel Miami Beach 2024

Lines snaked around the outer hallways of the Miami Beach Convention Center just minutes after Art Basel Miami Beach’s first of two VIP days began on Wednesday, December 4th.

This year’s edition of the fair welcomes 286 galleries from 38 countries (up from 2023’s total of 277) and includes a new high of 34 first-time exhibitors. The fair’s broad reach is particularly evident in its representation of South and Central American galleries, with 19 galleries hailing from Brazil alone. “The fact that the show is placed in Miami Beach was very intentional from its inception 22 years ago: It really is the nexus between North, South, and Central America. The show, year on year, is reflective of that,” new director Bridget Finn told Artsy in a recent interview.

Art Basel Miami Beach, which started in 2002 and is the largest art fair in the western hemisphere, anchors a week filled with fairs, parties, and high-profile exhibitions across the city. At the Miami Beach Convention Center on Wednesday, the early crowds—which included A-listers such as Leonardo DiCaprio, Jared Leto, and Martin Garrix—helped to set an optimistic tone in the immediate hours of the fair, which was echoed by dealers across the concourse.

“The energy is really good,” Los Angeles– and New York–based dealer Anat Ebgi told Artsy. “It’s really positive. Because it was an election year, I feel a lot of people were very hesitant or there was a lot of uncertainty. There still seems [to be] a lot of uncertainty, but people feel a lot better [about the market],” she added.

The pace of dealmaking started strong, with major galleries reporting a slew of sales by the end of the first VIP day. Hauser & Wirth led the reported slate of sales with David Hammons’s Untitled (2014) for $4.75 million, and galleries including Thaddaeus Ropac, David Zwirner and White Cube also disclosing seven-figure transactions. Click here for our round-up of key day-one sales, and check back on Monday for our full sales report from the fair.

Here we present the 10 best booths from Art Basel Miami Beach 2024.

Booth E20

With works by Gabriel de la Mora, Eduardo Terrazas, Yoshua Okón, Iván Krassoievitch, Hilda Palafox, Manuel Mathar, Alejandra Venegas, Germán Venegas, and Edgar Orlaineta

Proyectos Monclova delivers a bold slice of Mexico’s art scene to Art Basel Miami Beach, spotlighting a lively mix of abstract and figurative works by nine artists. “Our goal was to highlight the essence of the Mexican art scene right now,” said Alexandra Lovera, the gallery’s sales director. “While geometric abstraction is booming, figuration and painting are having an equally powerful moment. We wanted to showcase both.”

At first glance, Gabriel de la Mora’s disorienting, reflective wall works immediately pull viewers in. Using fragments of Christmas ornaments, de la Mora employs concave and convex surfaces to craft optical illusions. Works such as 21,593, from the series (2024), for example, appear to have dimensions when, in reality, they are flat. Inspired by his own condition, de la Mora calls the effect “visual dyslexia,” reflecting his perspective of an inverted world.

A standout among the figurative works on view is Hilda Palafox’s series of stoic paintings depicting women. Sin mirar atrás (2024), for instance, depicts a woman parting drapes while holding flowers behind her back. Her pupil-less eyes and serene expression evoke the sculptural quality of classical figures, adding a timeless strength to the work.

“She likes to pay homage to the Latin American female beauty, and she’s very much influenced by the muralist movement in Mexico,” said Lovera of Palafox’s works. “That’s why you can see that the faces and the bodies are very sculptured. You can see the stoicism. You can see the strength—the power.”

Booth N4

With works by Ivan Argote

Staged on walkable wooden platforms, Madrid gallery Albarrán Bourdais’s debut Art Basel Miami Beach booth immerses fairgoers in Ivan Argote’s 2024 series “Wild Flowers, Augustus.” The sculptures, deconstructed pieces of a full bronze statue of Augustus—the Roman emperor synonymous with imperial conquest—have been reimagined as planters filled with dirt and wildflowers. “He’s transforming the bronze sculpture into a flower pot, as a way of desacralizing this personage,” said the gallery’s founder Eva Albarrán.

Complementing the sculptures are Argote’s paintings on concrete, which depict invasive plants that migrated from the Americas to Europe, further exploring themes of colonization and transformation. One standout work, Voyagers – Cabomba caroliniana A.Gray (2024), portrays the invasive Carolina fanwort plant in a small but striking composition, measuring just 8.5 by 6.5 inches.

Prices for the concrete paintings are €12,000 ($12,600). The sculptures range in price from €12,000 ($12,600) for smaller pieces such as Wild Flowers, Augustus : A Hand (2024), through to €50,000 ($52,500) for larger pieces such as Wild Flowers, Augustus : A Hip (2024).

Booth B27

With works by Sanaa Gateja, fiker solomon, Richard Atugonza, Sedireng Mothibatsela, Peju Alatise, and Yoma Emore

The only shared booth at the fair unites two powerhouse African galleries: Kampala’s Afriart and the Lagos-founded Rele, both of which are making their debuts in the fair’s main Galleries section. The two galleries present standout works by three artists apiece, reflecting the missions of their respective programs.

Afriart’s presentation focuses on sustainability and transformation, featuring works by Sanaa Gateja, fiker solomon, and Richard Atugonza, all of whom use discarded materials as part of their practices. Gateja crafts intricate tapestries from beads made of recycled magazine paper, while solomon repurposes jute coffee sacks from Ethiopia, felting them with yarn to create textured, colorful pieces. Meanwhile, Atugonza takes an intimate approach with figurative sculptures, using coal dust coagulated with resin to explore themes of resilience and humanity. Prices range from $5,000 to $80,000.

Next door, Rele highlights three women artists: Péju Alatise, Sedireng Olehile Mothibatsela, and Yoma Emore. Alatise’s “Butterfly” series features incomplete steel frames containing sculptural female figures, each with a hollowed-out hole in their chest that speaks to identity and loss. Mothibatsela’s “Nest” series (three hand-sized sculptures on pedestals) uses clay-shaped and pit-fired terra-cotta to resemble bird nests, symbolizing nurturing and growth. Lastly, Emore engages with familial archives after diving into her mother’s letters from the 1970s and 1980s, creating a series of maps made from jute bags. Works at Rele are priced between $5,000 and $15,000.

Booth S13

With works by Jacqueline Lamba

It’s no secret that parts of the Surrealist movement were deeply misogynistic: Women were often seen by many as muses, not members. This makes Weinstein Gallery’s presentation of Jacqueline Lamba—the wife of the movement’s founder André Breton, and a pivotal yet underrecognized artist—all the more vital. Lamba’s career as a painter has long been overshadowed, partly due to her decision to stop exhibiting work, with her last major show held in Antibes, France, in 1967. Now, more than 50 years later, the San Francisco–based gallery presents a curated selection of exceptional works, spanning from 1937 to the 1980s.

The smallest and earliest work is perhaps the most notable: Le Baliseur (1937), a miniature scratch drawing on black coat paper, was described by the gallery’s founder Luke Weinstein as “not just her most important Surrealist object, [but] one of the most important Surrealist objects in existence.” The presentation traces Lamba’s journey through the dreamlike depictions of Paris during the Surrealist movement in the 1940s and ’50s to vibrant abstract landscapes that defined her later career, such as Paris Panorama (1971), which align her legacy with Abstract Expressionist figures like Helen Frankenthaler and Joan Mitchell.

“She was a true artist,” said Kendy Genovese, director of the gallery. “She never went backward. She painted what was influencing her at the time, and she absolutely had to paint, but she never painted for the market. She painted for herself.”

Prices for Lamba’s works range from $85,000 to $375,000, with the booth offering a rare opportunity to engage with the oeuvre of an artist who contributed profoundly to one of the 20th century’s most enduring movements.

Booth G27

With works by Jessica Taylor, Marisa Adesman, Jessica Taylor, Bellamy Alec Egan, Tina Girouard, Caleb Hahne Quintana, Karyn Lyons, Jenny Morgan, Soumya Netrabile, Meeson Pae, Gideon Rubin, Krzysztof Strzelecki, Janet Werner, Cosmo Whyte, and Faith Wilding

A standout from the fair’s Kabinett exhibition dedicated to “concisely curated” presentations, Anat Ebgi’s group booth includes six hand-embroidered cotton works by Palestinian American artist Jordan Nassar. These pieces imagine a romantic homeland, drawing inspiration from the Garden of Eden. The textile works, from his “Whence Four Rivers” series, follow a kaleidoscopic mountain range cut by light blue bodies of water, evoking a vision of paradise. At its center, Bench of Eden (2024), a seat adorned with a glass tile and cement grout mosaic, mirrors the dreamlike mountainscape. Nassar’s textile works are priced at $56,000 each.

Elsewhere in the Los Angeles and New York gallery’s booth, the theme of the garden emerges across several pieces. In particular, Krzysztof Strzelecki’s Waters of Life (2024) features a functional glazed ceramic sink painted with a mosaic of lounging men by a pond. Paying homage to Marcel Duchamp, the work is a precedent for the Polish artist’s upcoming show at the gallery, where he will present a series of sculptural urinals.

Standout pieces abound in this presentation: Faith Wilding’s Leaf Series: The Comforter (1976–78) presents curling, leaf-shaped oil canvases, and Caleb Hahne Quintana’s La Tierra Amarilla (2024) features a bird’s-eye view of a shirtless male figure riding a horse through a blustery field. Works at the booth are priced between $20,000 and $70,000.

Booth S15

With works by Linda Kohen

Amid the spectacle-heavy Art Basel Miami Beach, Piero Atchugarry Gallery offers a tranquil respite with a series of intimate interiors by 101-year-old artist Linda Kohen. The artist’s oil paintings, created between 1971 and 1999, capture fleeting moments and everyday objects—a fully set dinner table, the spilled contents of a purse, or an empty bedroom, for example. These works emerge from a life profoundly shaped by the upheavals of the 20th century, including her exile during the Holocaust in 1939 and later from Uruguay under the country’s military dictatorship of 1973–1985. In a world still grappling with displacement, political turmoil, and global crises, Kohen’s work resonates as a meditation on finding solace in the ordinary.

“It’s the quiet moments in a world that can be so loud right now—that can be overwhelming,” said Angie Gonzalez, associate director of the gallery, which has branches in Miami and Garzón, Uruguay. “We felt it was important to highlight an artist that has seen and experienced a lot, and it is the quiet moments that invite you in, perhaps to come join my bed or have a cup of tea with me.”

A standout piece, Ya salieron algunos papeles (1991), depicts an open suitcase brimming with postcards, giving a sense of everpresent change and evolution. Rendered in a subdued palette of grays, ochers, and muted tones, the body of work reflects a minimal expressionist sensibility with visible brushwork. Paintings at the booth are priced between $20,000 and $35,000.

Booth H20

With works by Pierre Bonnard, Hayley Barker, Andrew Cranston, Lorna Robertson, Michael Clarence, Aubrey Levinthal, Phoebe Unwin, Frank Walter, John Joseph Mitchell, and Joel Tomlin

An immediate standout at Ingleby Gallery’s stellar booth is Pierre Bonnard’s Garden at Le Cannet (ca. 1943), priced at $1.5 million. This masterwork anchors the Edinburgh and London gallery’s presentation, serving as a prelude to its 2025 exhibition of works by the artist, “Wings of a Butterfly.”

Inspired by one of Bonnard’s final diary entries—“I should like to present myself to the painters of the year 2000 with the wings of a butterfly”—the booth pays homage to the painter’s legacy by exploring how the qualities of his work, such as vibrant light, intimate compositions, and layered narratives, still inspire contemporary artists.

As part of its presentation, the gallery also features eight painters and one sculptor who mirrored the “sensibilities” of the French Post-Impressionist, according to the gallery’s co-founder Florence Ingleby.

The works featured include Hayley Barker’s Wingate Window (2024), a delicate portrayal of an open window framing a Bonnardesque treeline, and Andrew Cranston’s Garden with hose / Snake (2024), a richly layered work that captures the same hazy quality of Bonnard’s landscapes—once called a “potpourri of indecision” by Pablo Picasso. Another body of work that demands close attention is Frank Walter’s 16-piece “Landscape Series,” which features a series of landscape oil paintings on Polaroid cards. Prices for works at the booth start from £3,200 ($4,000).

Booth E12

With works by Terry Adkins, Tauba Auerbach, Jennifer Bartlett, Sophie Calle Sarah Charlesworth Jay DeFeo Mark di Suvero Ja’Tovia Gary Cynthia Hawkins, Eric N. Mack, Christian Marclay David Novros, Claes Oldenburg, Paul Pfeiffer, Walid Raad, Veronica Ryan, Kelley Walker, Dan Walsh, Meg Webster, and Sol LeWitt

At Paula Cooper Gallery’s booth, Mark di Suvero’s towering metal swing, Untitled (Swing) (2008–22), is undoubtedly among the boldest pieces at the fair. Standing 16 feet tall, the sculpture is a functional hammock-like swing, which visitors took turns to step aboard during the fair’s VIP day. “People get in it, and they just smile like kids,” said Steve Henry, senior partner at the New York–based gallery. The work is priced at “nearly” $1 million.

Perhaps equally striking is Paul Pfeiffer’s Incarnator (Pampanga) (2024), a disembodied Christ figure carved from painted gmelina wood. On closer inspection, the figure is unmistakably that of Justin Bieber, complete with his tattoos and bleached hair. Priced at around $200,000, the piece is part of the gallery’s broader exploration of human representation at this year’s fair. “People don’t often think of the gallery as dealing with the human figure, but of course, we do,” Henry noted.

Under this general theme, the booth also features a range of spectacular works, including Sol LeWitt’s Run I (1962), priced at $1.2 million, and Claes Oldenburg’s playful, erotic drawings, to name a few examples. Prices for the works in the booth range from $12,000 to $1.2 million.

Booth N11

With works by Nina Surel

Miami-based artist Nina Surel’s solo presentation at Spinello Projects’s booth kept a steady crowd throughout VIP day, anchored by a monumental ceramic wall relief, Greta Chamotta (2024). Crafted from more than 1,000 pounds of stoneware ceramic with chamotte, the kiln-fired mural depicts two nude goddess-like figures surrounded by symbols evocative of the ocean, including water droplets, waves, and an orange seashell affixed at the bottom.

An inspiration for the presentation is Atabey, a goddess of the Taíno people in the Dominican Republic. In Atabei (2024), for instance, what began as an experimental vase with two legs evolved into a chimerical sculpture, featuring the goddess’s face painted in blue. “When I created her, my first intention was to make a vase with legs, but the legs became real legs, and the woman inside the vase emerged as her,” Surel told Artsy.

The booth also features ceramic tablets, sculptures, and hand-built coiled vessels. Surel also explore the experiences of womanhood, adorning her ceramic sculptures with motifs such as breasts or ovaries. Prices at the booth, which was nearly sold out by the middle of VIP day—with one work acquired by the storied Pérez Art Museum Miami—range from from $8,500 to $50,000.

Booth N3

With works by Melissa Joseph and Kim Dacres

New York–based artists Melissa Joseph and Kim Dacres place unconventional materials in conversation for their two-person booth with Charles Moffett. Joseph—an Artsy Vanguard 2025 artist—is known for her felted textile works and here incorporates frames such as small rubber tires. Dacres’s works, meanwhile, embed felted wool into monumental tire-based sculptures.

According to gallery founder Charles Moffett, the intention from the start was to prioritize collaboration, which he fostered by setting up regular meetings with the artists in the run-up to the fair.

“There’s a real feeling of true collaboration within these works, and it comes through as you step in here and you go from work to work and see the conversation that theyre having as artists and peers,” said Moffet. On VIP day, the gallerist was wearing a small felted pin made by Joseph—a miniature version of her work Carnival Bear (Recto + Verso) (2024), a textile within one of the small rubber tires.