Installation view of Anat Ebgi\u2019s booth at Art Basel Miami Beach, 2024. Courtesy of Anat Ebgi.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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\u201cThe energy is really good,\u201d Los Angeles\u2013 and New York\u2013based dealer Anat Ebgi told Artsy. \u201cIt\u2019s 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],\u201d she added.<\/p>\n
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\u2019s Untitled <\/em>(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. <\/p>\nHere we present the 10 best booths from Art Basel Miami Beach 2024. <\/p>\n<\/div>\n
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Booth E20<\/h3>\nWith works by Gabriel de la Mora, Eduardo Terrazas, Yoshua Ok\u00f3n, Iv\u00e1n Krassoievitch, Hilda Palafox, Manuel Mathar, Alejandra Venegas, Germ\u00e1n Venegas, and Edgar Orlaineta<\/h3>\n<\/div>\n\n
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Installation view of Proyectos Monclova\u2019s booth at Art Basel Miami Beach, 2024. Photo by Mark Blower. Courtesy of Proyectos Monclova.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Proyectos Monclova delivers a bold slice of Mexico\u2019s art scene to Art Basel Miami Beach, spotlighting a lively mix of abstract and figurative works by nine artists. \u201cOur goal was to highlight the essence of the Mexican art scene right now,\u201d said Alexandra Lovera, the gallery\u2019s sales director. \u201cWhile geometric abstraction is booming, figuration and painting are having an equally powerful moment. We wanted to showcase both.\u201d<\/p>\n
At first glance, Gabriel de la Mora\u2019s 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<\/em> (2024), for example, appear to have dimensions when, in reality, they are flat. Inspired by his own condition, de la Mora calls the effect \u201cvisual dyslexia,\u201d reflecting his perspective of an inverted world. <\/p>\n<\/div>\n\n
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A standout among the figurative works on view is Hilda Palafox\u2019s series of stoic paintings depicting women. Sin mirar atr\u00e1s<\/em> (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.<\/p>\n \u201cShe likes to pay homage to the Latin American female beauty, and she\u2019s very much influenced by the muralist movement in Mexico,\u201d said Lovera of Palafox\u2019s works. \u201cThat\u2019s why you can see that the faces and the bodies are very sculptured. You can see the stoicism. You can see the strength\u2014the power.\u201d<\/p>\n<\/div>\n
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Booth N4<\/h3>\nWith works by Ivan Argote<\/h3>\n<\/div>\n\n
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Ivan Argote, installation view in Albarr\u00e1n Bourdais\u2019s booth at Art Basel Miami Beach, 2024. Courtesy of Albarr\u00e1n Bourdais.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Staged on walkable wooden platforms, Madrid gallery Albarr\u00e1n Bourdais\u2019s debut Art Basel Miami Beach booth immerses fairgoers in Ivan Argote\u2019s 2024 series \u201cWild Flowers, Augustus.\u201d The sculptures, deconstructed pieces of a full bronze statue of Augustus\u2014the Roman emperor synonymous with imperial conquest\u2014have been reimagined as planters filled with dirt and wildflowers. \u201cHe\u2019s transforming the bronze sculpture into a flower pot, as a way of desacralizing this personage,\u201d said the gallery\u2019s founder Eva Albarr\u00e1n.<\/p>\n
Complementing the sculptures are Argote\u2019s 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 \u2013 Cabomba caroliniana A.Gray<\/em> (2024), portrays the invasive Carolina fanwort plant in a small but striking composition, measuring just 8.5 by 6.5 inches.<\/p>\n<\/div>\n\n
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Prices for the concrete paintings are \u20ac12,000 ($12,600). The sculptures range in price from \u20ac12,000 ($12,600) for smaller pieces such as Wild Flowers, Augustus : A Hand<\/em> (2024), through to \u20ac50,000 ($52,500) for larger pieces such as Wild Flowers, Augustus : A Hip<\/em> (2024).<\/p>\n<\/div>\n\n
Booth B27<\/h3>\nWith works by Sanaa Gateja, fiker solomon, Richard Atugonza, Sedireng Mothibatsela, Peju Alatise, and Yoma Emore<\/h3>\n<\/div>\n\n
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Installation view of Afriart and Rele\u2019s booth at Art Basel Miami Beach, 2024. Courtesy of Afriart and Rele.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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The only shared booth at the fair unites two powerhouse African galleries: Kampala\u2019s Afriart and the Lagos-founded Rele, both of which are making their debuts in the fair\u2019s main Galleries section. The two galleries present standout works by three artists apiece, reflecting the missions of their respective programs. <\/p>\n
Afriart\u2019s 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.<\/p>\n<\/div>\n
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Afriart and Rele at Art Basel Miami Beach, 2024 <\/p>\n
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Next door, Rele highlights three women artists: P\u00e9ju Alatise, Sedireng Olehile Mothibatsela, and Yoma Emore. Alatise\u2019s \u201cButterfly\u201d 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\u2019s \u201cNest\u201d 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\u2019s 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.<\/p>\n<\/div>\n
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Booth S13<\/h3>\nWith works by Jacqueline Lamba<\/h3>\n<\/div>\n\n
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Jacqueline Lamba, installation view in Weinstein Gallery\u2019s booth at Art Basel Miami Beach, 2024. Courtesy of Weinstein Gallery.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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It\u2019s 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\u2019s presentation of Jacqueline Lamba\u2014the wife of the movement\u2019s founder Andr\u00e9 Breton, and a pivotal yet underrecognized artist\u2014all the more vital. Lamba\u2019s 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\u2013based gallery presents a curated selection of exceptional works, spanning from 1937 to the 1980s.<\/p>\n
The smallest and earliest work is perhaps the most notable: Le Baliseur<\/em> (1937), a miniature scratch drawing on black coat paper, was described by the gallery\u2019s founder Luke Weinstein as \u201cnot just her most important Surrealist object, [but] one of the most important Surrealist objects in existence.\u201d The presentation traces Lamba\u2019s journey through the dreamlike depictions of Paris during the Surrealist movement in the 1940s and \u201950s to vibrant abstract landscapes that defined her later career, such as Paris Panorama<\/em> (1971), which align her legacy with Abstract Expressionist figures like Helen Frankenthaler and Joan Mitchell.<\/p>\n<\/div>\n<\/p>\n\n
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Weinstein Gallery at Art Basel Miami Beach, 2024 <\/p>\n
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\u201cShe was a true artist,\u201d said Kendy Genovese, director of the gallery. \u201cShe 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.\u201d<\/p>\n
Prices for Lamba\u2019s 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\u2019s most enduring movements.<\/p>\n<\/div>\n
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Booth G27<\/h3>\nWith 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<\/h3>\n<\/div>\n\n
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Installation view of Anat Ebgi\u2019s booth at Art Basel Miami Beach, 2024. Courtesy of Anat Ebgi.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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A standout from the fair\u2019s Kabinett exhibition dedicated to \u201cconcisely curated\u201d presentations, Anat Ebgi\u2019s 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 \u201cWhence Four Rivers\u201d series, follow a kaleidoscopic mountain range cut by light blue bodies of water, evoking a vision of paradise. At its center, Bench of Eden<\/em> (2024), a seat adorned with a glass tile and cement grout mosaic, mirrors the dreamlike mountainscape. Nassar\u2019s textile works are priced at $56,000 each.<\/p>\nElsewhere in the Los Angeles and New York gallery\u2019s booth, the theme of the garden emerges across several pieces. In particular, Krzysztof Strzelecki\u2019s Waters of Life<\/em> (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\u2019s upcoming show at the gallery, where he will present a series of sculptural urinals. <\/p>\n<\/div>\n<\/p>\n\n
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Anat Ebgi at Art Basel Miami Beach, 2024 <\/p>\n
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Standout pieces abound in this presentation: Faith Wilding\u2019s Leaf Series: The Comforter<\/em> (1976\u201378) presents curling, leaf-shaped oil canvases, and Caleb Hahne Quintana\u2019s La Tierra Amarilla<\/em> (2024) features a bird\u2019s-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.<\/p>\n<\/div>\n\n
Booth S15<\/h3>\nWith works by Linda Kohen<\/h3>\n<\/div>\n\n
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Linda Kohen, installation view in Piero Atchugarry Gallery\u2019s booth at Art Basel Miami Beach, 2024. Courtesy of Piero Atchugarry Gallery.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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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\u2019s oil paintings, created between 1971 and 1999, capture fleeting moments and everyday objects\u2014a 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\u2019s military dictatorship of 1973\u20131985. In a world still grappling with displacement, political turmoil, and global crises, Kohen\u2019s work resonates as a meditation on finding solace in the ordinary.<\/p>\n
\u201cIt\u2019s the quiet moments in a world that can be so loud right now\u2014that can be overwhelming,\u201d said Angie Gonzalez, associate director of the gallery, which has branches in Miami and Garz\u00f3n, Uruguay. \u201cWe 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.\u201d<\/p>\n<\/div>\n
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Linda Kohen, Ya salieron algunos papeles<\/i>, 1991. Courtesy of Piero Atchugarry Gallery.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n
A standout piece, Ya salieron algunos papeles <\/em>(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.<\/p>\n<\/div>\n\n
Booth H20<\/h3>\nWith works by Pierre Bonnard, Hayley Barker, Andrew Cranston, Lorna Robertson, Michael Clarence, Aubrey Levinthal, Phoebe Unwin, Frank Walter, John Joseph Mitchell, and Joel Tomlin <\/h3>\n<\/div>\n\n
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Installation view of Ingleby Gallery\u2019s booth at Art Basel Miami Beach, 2024. Courtesy of Ingleby Gallery.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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An immediate standout at Ingleby Gallery\u2019s stellar booth is Pierre Bonnard\u2019s Garden at Le Cannet <\/em>(ca. 1943), priced at $1.5 million. This masterwork anchors the Edinburgh and London gallery\u2019s presentation, serving as a prelude to its 2025 exhibition of works by the artist, \u201cWings of a Butterfly.\u201d<\/p>\nInspired by one of Bonnard\u2019s final diary entries\u2014\u201cI should like to present myself to the painters of the year 2000 with the wings of a butterfly\u201d\u2014the booth pays homage to the painter\u2019s legacy by exploring how the qualities of his work, such as vibrant light, intimate compositions, and layered narratives, still inspire contemporary artists. <\/p>\n
As part of its presentation, the gallery also features eight painters and one sculptor who mirrored the \u201csensibilities\u201d of the French Post-Impressionist, according to the gallery\u2019s co-founder Florence Ingleby. <\/p>\n<\/div>\n
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The works featured include Hayley Barker\u2019s Wingate Window<\/em> (2024), a delicate portrayal of an open window framing a Bonnardesque treeline, and Andrew Cranston\u2019s Garden with hose \/ Snake<\/em> (2024), a richly layered work that captures the same hazy quality of Bonnard\u2019s landscapes\u2014once called a \u201cpotpourri of indecision\u201d by Pablo Picasso. Another body of work that demands close attention is Frank Walter\u2019s 16-piece \u201cLandscape Series,\u201d which features a series of landscape oil paintings on Polaroid cards. Prices for works at the booth start from \u00a33,200 ($4,000).<\/p>\n<\/div>\n\n
Booth E12<\/h3>\nWith works by Terry Adkins, Tauba Auerbach, Jennifer Bartlett, Sophie Calle Sarah Charlesworth Jay DeFeo Mark di Suvero Ja\u2019Tovia 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<\/h3>\n<\/div>\n\n
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Installation view of Paula Cooper Gallery\u2019s booth at Art Basel Miami Beach, 2024. Courtesy of Art Basel.<\/p>\n<\/div>\n<\/div>\n<\/div>\n
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Sol LeWitt, Run I<\/i>, 1962. \u00a9 2024 The LeWitt Estate \/ Artists Rights Society (ARS), New York. Photo by Steven Probert. Courtesy of Paula Cooper Gallery, New York. <\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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