Art Basel Paris 2025 concluded on Sunday, October 26, bringing six days of dealmaking to a close at the Grand Palais. Some 206 galleries from 41 countries participated in this year’s edition, which was characterized by a positive attitude and strong reported sales from exhibitors.
“What truly stood out this week was the atmosphere,” said Brussels dealer Xavier Hufkens, whose booth “nearly sold out” by the end of the fair. “People came to Paris to look, to feel, and to fall in love with art all over again,” he added.
Most galleries in the main section of the fair opted for group presentations, choosing to flex the breadth of their programs and the strength of their inventories. Other sections included Emergence, which featured emerging artists exhibited by young galleries, and Premise, which highlighted historical curated presentations.
This year’s Art Basel Paris got underway with a newly launched “Avant Première” preview on Tuesday afternoon, when a smaller pool of select invitees was welcomed to the Grand Palais a day before its standard “First Choice” VIP opening. The result of the move—intended to prioritize galleries’ most important clients—created an immediate tone that was more serious and transaction-focused from 3 to 7 p.m., with deals being struck at a more efficient pace than at recent comparable art fair preview days.
“Art Basel Paris was very intense from the first 30 minutes of the Tuesday preview,” said Paris-based dealer Almine Rech. “That energy was present every single day.” Several galleries noted sustained business throughout the week, reporting that many clients present on Tuesday returned to the fair in the days that followed to confirm prospective purchases.
Art Basel Paris 2025 capped a lively week for the French capital’s art scene. Noteworthy satellite fairs included Paris Internationale and Design Miami.Paris, as well as a growing number of smaller, community-oriented fairs, including Place des Vosges and 7 rue Froissart. Buzzy museum shows were perhaps the most frequent topics of conversation, including Gerhard Richter’s retrospective at the Fondation Louis Vuitton—which surely influenced sales of the artist’s works noted below—and the “Minimal” survey at the Pinault Collection’s Bourse de Commerce.
The week was also supplemented by a raft of gallery shows, pop-ups, and other art events, which, taken together, reaffirmed Paris’s status as one of the world’s leading art capitals (not that anyone needed a reminder).
Here, we round up the sales reported by galleries at Art Basel Paris 2025.
Other sales at Art Basel Paris 2025
Lehmann Maupin reported sales for a number of works at prices in the range of $20,000–$650,000 apiece. These included works by McArthur Binion, Teresita Fernández, Catherine Opie, Cecilia Vicuña, and David Salle.
Semiose—another Artsy best booth from the fair—led its reported sales with Moffat Takadiwa’s Future cars (2025) and Pasi panodya, Earth consumes (2025) for €35,000 ($41,400) each. Other sales included:
Another work by Takadiwa for €16,000–€20,000 ($18,900–$23,700).
An unspecified number of Françoise Pétrovitch bronzes for €12,000–€16,000 ($14,200–$18,900) apiece.
Five paintings by Xie Lei for €14,000 ($16,600) each.
Athr’s reported sales were led by Sarah Abu Abdallah’s Untitled (2025), which sold for SAR62,300 ($16,600). Other sales included:
Asma Bahmim’s 4 Marriage Contracts II (2024) for SAR31,750 ($8,500) and 4 Marriage Contracts I (2024) for SAR30,000 ($8,000).
Hayfa Algwaiz’s Forever Home (2025) for SAR28,500 ($7,600); Sheathing (2025) for SAR17,500 ($4,700); Everything Is Connected Around Corners in a Periscopic Way (2025) for SAR16,500 ($4,400); A Woman’s Body (2025) for SAR15,500 ($4,100); Waiting Room (2025) for SAR12,500 ($3,300).
Lulua Alyahya’s Untitled (2025) for SAR19,500 ($5,200) and Untitled (2025) SAR10,500 ($2,800); Unknown Caller (2025) for SAR10,500 ($2,800).
P•P•O•W sold works by Kyle Dunn, Hilary Harkness, Dinh Q. Lê, and Carolee Schneemann for a combined total “north of” $700,000.