It’s a chock-full week when influential figures in the art world gather in the Magic City. Attendees at Art Basel, the Basel-ers, rush from one event to another, showcasing their stylish outfits, while SUVs clog every block of Miami Beach.
It’s more than just an art fair; it’s Art Basel Miami. At some point, people began saying, “We’re going to Basel,” not to refer to the city but to the fair itself. And notably, they meant the one in sunny Florida, not Switzerland. This fair has become the most exciting cultural event on the social calendar in North America, featuring numerous parties and events attended by celebrities and tastemakers, with art openings scattered throughout the city. There are also fashion parties, photography exhibitions, unveilings of new high-end concept cars, open bars, dinners, and dance clubs. Of course, half the fun of the week comes from hearing about what everyone else experienced.
Art Basel Miami Beach, held at the Miami Beach Convention Center, is the premier event in the global art world and is more significant than ever this year. Launched in 2002 as the American extension of the renowned Art Basel fair, which originated in Switzerland in 1970, this Miami edition showcases contemporary and modern art on a global stage. Art Basel Miami Beach’s immense influence and substantial sales shape the international market, making it a key player in the art industry. Artists, gallerists, and collectors attending Art Basel engage at the highest level.
What to expect?
Expect a lot of traffic. Indeed, 80,000 visitors are no joke. This is the anticipated number of people flocking to Miami Beach, Wynwood, and the Design District. Wear comfortable shoes and stay zen.
Sales expectations are not exuberant; fewer sales are expected but with a more ethical approach.
Ultra-high-net-worth individuals will likely moderate their spending; on average, art expenditure among this group decreased by 32% in 2023, according to the third annual Art Basel and UBS Survey of Global Collecting. However, despite economic uncertainty and conflicts in Europe and the Middle East, high-net-worth individuals (HNWIs) are expressing moderate optimism about the art market’s future. They will continue contributing to the Convention Centre event but will likely make more considered choices.
Generational changes also influence this shift in spending habits. Purchasing art was primarily a status symbol for the baby boomer generation, somewhat less so for Generation X, who will now play a significant role in driving the market. Meanwhile, millennials are expected to spend less.
Moreover, the generational shift in collecting tastes is crucial. Many new and younger wealthy individuals actively support emerging artists, which is vital for nurturing their careers at both early and later stages.
Additionally, there will be an increase in collections featuring female artists. Many artists are also embracing themes of environmentalism and sustainability and exploring the relationship between technology – such as the new frontiers of generative AI – and the social and ethical issues that arise from it. The world is complex, and these artists are determined to showcase its many facets.
What’s new?
Even the biggest art world novice recognises that all the top galleries in the art industry gather here, mingling side-by-side. Walking through these halls is a privilege. In the Galleries section, you can see the crème de la crème of legendary names alongside their most popular and rarest works. There is great anticipation for Helly Nahmad, who will showcase 20th-century masters such as Picasso, Kandinsky, Calder, and Basquiat. Hirschl & Adler will debut works by Franz Kline from the 1940s. Gallery Wendi Norris will highlight Spanish surrealism with pieces by Remedios Varo and rare works by Jacqueline Lamba and Claude Cahun.
However, this year’s real news is that Art Basel welcomes the largest group of new exhibitors in over a decade, featuring 34 new galleries from cities like Bogotá and Jakarta. Notable newcomer works include paintings by the Balinese artist I Gusti Ayu Kadek Murniasih and sculptures by the French-Moroccan artist Tarek Lakhrissi at Galerie Allen.
Exciting developments are often found in art fairs’ minor sectors, which focus more on emerging artists than established ones. This year, there is particular interest in the Meridiani sector, curated by Yasmil Raymond. This platform showcases large-scale projects that challenge the traditional layout of art fairs. The current edition, “State of Becoming,” features 20 galleries presenting works by artists such as Alice Aycock, Rachel Feinstein, and José Parlá. It explores significant themes, including the fragility of democracy and global climate anxiety.
Eighteen artists from around the world—from countries like Greece, France, South Korea, Argentina, and others—are participating in the exhibition, creating an intergenerational dialogue. Raymond notes that these artists “engage in a dialogue with history through making works of art, rather than mere objects” (as stated in Encounters: A Dialogue with Art from the Past on Studio International). This reflects a deep humanitarian concern for sociopolitical issues and a growing interest in art as a form of social practice.
One essential section not to be overlooked—if you’re willing to step away from the crowd—is “Position.” This exhibit showcases the work of emerging artists across various mediums, including metalwork, textiles, and light installations. These artists use materials such as sundials and bullet casings to give voice to overlooked global histories.
For example, Jimena Croceri creates organically shaped solid sculptures in copper, bronze, and aluminium that reference the use of talismans in pre-Columbian culture. Terrence Musekiwa presents traditionally carved stone heads from Zimbabwe, incorporating found objects like bullet casings and nitrous oxide canisters. Randolpho Lamonier offers hanging tapestries that confront viewers with the harsh realities of a Brazil marred by violence, depicting figures who have been gunned down, chaotic cityscapes, and fire-breathing activists. Lastly, Paula Nicho Cúmez features vibrant, traditional Maya patterns that challenge the legacies of colonialism and ongoing oppression in the present day.
Other highlights include a premiere artist talk by Hank Willis Thomas and works by Richard Hunt, Kathleen Ryan, and Refik Anadol. However, I wouldn’t miss the talk with Shirin Neshat on December 5th if I had to choose just one event. For over four decades, the Iranian-born, New York-based Shirin has challenged societal norms, particularly those of her home country. Her work as a photographer, video artist, filmmaker, and, most recently, opera director consistently celebrates the power and empowerment of women in a world increasingly threatened by religious obscurantism and the horrors of femicide.
Beyond Art Basel
Art Basel extends far beyond just the Convention Center. Beyond the stronghold of the “official” Art Basel within the fortified walls of the Convention Center lies a plethora of satellite fairs, each with varying levels of prestige and quality, ranging from the subpar to the exceptional. While it would be tedious to list them all, I suggest you check out Untitled.
Located in a white pavilion that avoids any pretentiousness, Untitled is quietly nestled directly on the ocean sand facing Ocean Drive. It may not be the most dazzling or fashionable event, and it might even be one of the least visited fairs, but it is undoubtedly one of the most cutting-edge. Untitled focuses heavily on emerging talent and experimental art, offering fresh perspectives on contemporary art practices, which include new media and immersive installations.
This year, Untitled adopts the theme “East Meets West,” curated by Kathy Huang (Jeffrey Deitch) and Jungmin Cho (White Noise in Seoul), highlighting artists from Asia. The fair will feature lesser-known artists and participants from Eastern Europe, the Middle East, Asia Pacific, and the Asian diaspora. Noteworthy highlights in the Special Projects section will include Cuba’s El Apartamento (Havana, Madrid), showcasing Reynier Leyva Novo’s “Federal Cleaning” (2024). This striking work utilises dust on adhesive paper to create a haunting visual archive, reflecting on the impermanence of time and the intentional erasure of events.
Is it worth going?
That’s a good question. If you ask around, you’ll find that opinions on whether Art Basel is worth attending vary widely, ranging from “unmissable” to “run away as far as possible.” On one hand, it can feel like a circus of glamour, with a gathering of self-absorbed narcissists. On the other hand, it is arguably the most fantastic art festival in the Western hemisphere, putting all other fairs at a disadvantage.
Between the main fair and the ancillary fairs and exhibits, you’ll encounter more contemporary art in five days than in six months in Chelsea, New York, or even years elsewhere in the world. It’s an overwhelming experience, akin to being inside a blender on a roller coaster—certainly not for the faint of heart. However, believe me, you won’t regret it and enjoy every minute of it.
You have been warned.
