The 10 Best Booths at Art Basel in Basel 2023

The international art world arrived in droves to the Messe Basel for Art Basel’s VIP opening on Tuesday. Hosting some 284 galleries from 36 countries and territories, the exhibition center was immediately greeted by a flurry of activity upon its opening at 11 a.m., with several booths almost impossible to walk through minutes after the doors opened. This frenzy was no surprise to anyone who attended the opening of Unlimited—Art Basel’s sector devoted to large-scale installations—the day prior, where room to maneuver around the sprawling artworks was hard to come by.

The 2023 edition of Art Basel in Basel includes 21 first-time exhibitors, 18 of which are taking part in two focused sectors: Feature, which is dedicated to historical discoveries; and Statements, which is focused on solo presentations by emerging artists. An estimated 4,000 artists’ works are on view at the fair and its various satellite venues and events that span the city over the course of the week.

“This show continues to occupy a singular position in our field as an essential and influential convening point where galleries present their most ambitious and highest quality artworks, from 20th-century masterpieces to some of the most pioneering contemporary positions,” said Noah Horowitz, who was appointed CEO of Art Basel last year. He went on to describe the fair as “the single most important annual event in the global art market, with the week serving as a barometer of the industry more than any other singular event.”

Indeed, as this year’s fair takes place against a tricky economic backdrop and the art market itself starts to feel some nervousness, this week’s sales will be closely watched.

A slew of opening-day sales provided some initial relief, with a number of blue-chip works on the primary and secondary markets selling for seven-, even eight-figure sums. Some dealers, however, noted that the strong foot traffic wasn’t necessarily translating to purchases with the same speed as in recent years.

Hauser & Wirth had a particularly good day, evidenced not just by its $22.5 million Louise Bourgeois spider sculpture—the biggest reported sale of the day—but also a smattering of others, including but not limited to: Philip Guston’s Four Heads (1975) for $9.5 million; George Condo’s Figures in a Garden (2009) for $5.5 million; Mark Bradford’s 2000 Acres Listed (2023) for $3.5 million; and a bronze, silk, wool, and fiber piece for $1.3 million by Barbara Chase-Riboud, the esteemed sculptor whom the gallery announced representation of last week.

At this top end of the market, a handful of other galleries reported seven-figure sales, too. Di Donna sold a painting by Paul Klee for somewhere in the range of $3 million–$4 million; Xavier Hufkens sold a two-part glass sculpture by Roni Horn for approximately $2.5 million and an important fabric sculpture by Bourgeois in the range of $2 million–$2.5 million; Cardi Gallery sold a Donald Judd steel and plexiglass piece for $1.1 million; Gladstone Gallery sold an Alex Katz painting for $1.1 million; Goodman Gallery sold El Anatsui’s Untitled (Blue) (2023) for $1.9 million; David Kordansky Gallery sold Jonas Wood’s Interior with L.A. Landscapes (2022) for $2.5 million; and Pace Gallery sold a 1976 Alexander Calder piece for $2.8 million.

White Cube sold Mark Bradford’s The Less Common Royalness (2014) for $4.5 million, as well as Noah Davis’s Pueblo del Rio: Vernon (2014) for $2.75 million, in addition to works by Georg Baselitz, Doris Salcedo, and Anselm Kiefer that each sold for more than $1 million; and David Zwirner made several striking sales, including Alice Neel’s Eddie (1968) for $2.8 million, Noah Davis’s Graduation (2015) for $2 million, and Josef Albers’s Homage to the Square (1968) for $1.8 million, among others. Check back on Tuesday for our full sales recap.

Galleries across the fair tended to emphasize their established artist rosters at their fullest—a sign, perhaps, of the need to stick with proven names and safer programming amid uncertain times. Still, with so much art and so many booths on view, there was no shortage of ambitious, high-quality art on display. After all, this is Art Basel.

Here, we select 10 standout booths from Art Basel in Basel 2023.

Pilar Corrias Gallery

Galleries, Booth R3

With works by Koo Jeong A, Ragna Bley, Peppi Bottrop, Ulla von Brandenburg, Ian Cheng, Cui Jie, Keren Cytter, Gerasimos Floratos, Sophie von Hellermann, Tomashi Jackson, Helen Johnson, Hayv Kahraman, Mary Reid Kelley, Kat Lyons, Tala Madani, Manuel Mathieu, Gisela McDaniel, Sofia Mitsola, Sabine Moritz, Elizabeth Neel, Philippe Parreno, Mary Ramsden, Rachel Rose, Christina Quarles, Tschabalala Self, Shahzia Sikander, Rirkrit Tiravanija, Lina Iris Viktor, and Vivien Zhang

London gallery Pilar Corrias brought a playful and diverse range of works to its display at the fair, anchored by 1,500 bright orange Mylar balloons in the shape of speech bubbles floating on the ceiling. The balloons, by Phillippe Parreno, are among the highlights of a presentation that showcases the London gallery’s leading voices, played at full volume.

“It’s a really demonstrative, characteristic, showing of everything that the gallery is about,” sales associate John Utterson said of the booth. In a large-scale corner painting by Tala Madani—who just concluded a solo show at MOCA Los Angeles—light projects onto an enigmatic situation between men and a dog, a clever play on psychological projection, while Ian Cheng’s dual-screen Life after Bob (2022) shows creatures embarking on an exploration underpinned by a never-ending AI (the active algorithm behind the two screens is something to behold).

Hayv Kahraman’s Torshi vine (2022), meanwhile, is a typical demonstration of the Iraqi artist’s gift for material, representing women mangled in what looks like intestines; and Tschabalala Self’s Youth (2023) weaves together fabric, digitally printed linen, thread, painted canvas, and acrylic paint in a dazzling bricolage that demonstrates the in-demand artist’s gifts at their most creative and beguiling.

Interest in the booth from collectors was strong, noted Utterson, who was enthusiastic about the mood of the fair. “It really does feel like this was the first Art Basel in Basel post-pandemic where it’s really back to form,” he told Artsy. “Things are moving very quickly.”

Lia Rumma

Galleries, Booth C2

With works by Vanessa Beecroft, Enrico Castellani, Gunther Forg, Andreas Gursky, Donald Judd, William Kentridge, Reinhard Mucha, Thomas Shutte, Wael Shawky, Ettore Spaletti, Haim Steinbach, Gian Maria Tosatti, and Gilberto Zorio

Sculpture is the sole focus of this presentation by Milanese gallery Lia Rumma, which brings together a sprawling selection of works from names past and present. The display draws its inspiration from the Futurist master Umberto Boccioni. “Sculpture emancipates itself from painting and the figure and becomes—with this statement—intervention, action, plastic rhythm shaped by the creator,” explained gallery representative Maud Greppi.

One standout of the booth is Vanessa Beecroft’s 2022 series of ceramic heads, which take inspiration from classic and Renaissance styles, and are displayed in brilliant fashion, clustered together in an alcove within the booth, reflecting a spectrum of moods and emotions. This cerebral theme resonates across a selection of black metal cut-outs by William Kentridge, depicting the heads of Michelangelo and the Madonna. Hung on an outside wall of the booth, these figures gaze out over the passersby.

Founded in 1971 by Lia Rumma, the gallery weaves together strands from its past and present. A classic wall unit from Donald Judd, for example, is exhibited alongside a dark metallic gold, rust, and charcoal panel from Gian Maria Tosatti, who recently represented Italy at the Venice Biennale. With contrasts such as these, it’s a booth that flies the flag for its medium, in ways that are both experimental and daring.

Gallery Hyundai

Galleries, Booth G13

With works by Lee Ufan and Park Young-sook

Lee Ufan is best known for his muted canvases (which regularly sell for hefty sums at auction), but the Korean artist is no stranger to experimentation in other formats. “He always tried to make works using different materials and tried to explore other mediums,” said Jae-sok Kim, a senior director at Gallery Hyundai. The gallery is presenting a series of terracotta works by the artist in a joint presentation with Korean contemporary ceramicist Park Young-sook.

The ceramics, which include a series of large-scale plates and vases made by Park, reconfigure Ufan’s vertical marks and swirling lines, which are typical of the artist’s signature minimalist style. Park’s works, executed at a grand scale—with diameters that surpass one meter (over three feet) and heights exceeding 60 centimeters (nearly two feet)—have a refined elegance and craftsmanship which harmonize with Ufan’s spontaneity and captivating brushwork.

“Lee Ufan is a master, everybody knows about his work, but many people didn’t know about how he used ceramics or the experimental aspect of his work,” Kim added. The presentation, which features around 40 pieces, also includes paintings from Ufan’s famed “Response” series, where large tracts of pigment are swirled across a canvas in a contemplative style.

Stephen Friedman Gallery

Galleries, Booth J3

With works by Juan Araujo, Tonico Lemos Auad, Leilah Babirye, Jonathan Baldock, Sarah Ball, Huguette Caland, Caroline Coon, Melvin Edwards, Andreas Eriksson, Manuel Espinosa, Denzil Forrester, Tom Friedman, Kendell Geers, Jeffrey Gibson, Sky Glabush, Pam Glick, Wayne Gonzales, Channing Hansen, Holly Hendry, Izumi Kato, Ilona Keserü, Woody De Othello, Ged Quinn, Deborah Roberts, Anne Rothenstein, Yinka Shonibare CBE RA, Caroline Walker, Kehinde Wiley, Yooyun Yang, and Luiz Zerbini

“We wanted to come here with the best artworks we’ve ever brought to a fair; we can safely say that we have,” said Jonathan Horrocks, a director at Stephen Friedman Gallery, which brings a raft of works by its A-list names. Upon viewing the works on view—some 80% of which are brand new and include pieces by sought-after artists such as Caroline Walker, Sarah Ball, Kehinde Wiley, and Juan Araujo—it becomes clear that he was not exaggerating.

“We tend to curate very specific niches within the booth,” Horrocks explained of the expansive presentation. The natural world is explored by Jonathan Baldock, Caroline Coon, and Andreas Eriksson, which are hung opposite portraiture by Ball and Wiley, for instance.

A sumptuous new large-scale work by Walker, which features a woman working on a construction site, is an excellent example of the in-demand artist’s style, while sculptural works from the likes of Melvin Edwards, Woody De Othello, and Yinka Shonibare are a testament to the gallery’s range in materials and mediums. Another highlight, Shonibare’s fiberglass mannequin Sun Dance Kid (Boy) (2023), represents a young boy in Victorian costume caught in mid-dance, leaping out from the booth in playful fashion. It turned more than a few heads of the VIP visitors that walked by it.

David Kordansky Gallery

Galleries, Booth R2

With works by David Altmejd, Markus Amm, John Armleder, Mario Ayala, Huma Bhabha, Will Boone, Lucy Bull, Andrea Büttner, Valentin Carron, Aaron Curry, Fred Eversley, Jason Fox, Sam Gilliam, Jenna Gribbon, Guan Xiao, Raul Guerrero, Jennifer Guidi, Chase Hall, Lauren Halsey, Evan Holloway, Shara Hughes, Rashid Johnson, William E. Jones, Deana Lawson, Tala Madani, Chris Martin, Joel Mesler, Ivan Morley, Ruby Neri, Odili Donald Odita, Hilary Pecis, Mai-Thu Perret, Tobias Pils, Torbjørn Rødland, Tom of Finland, Lesley Vance, Mary Weatherford, Michael Williams, Jonas Wood, and Betty Woodman

Several galleries brought their full chorus to Art Basel this year, and visitors would be hard pressed to find a presentation more thorough than David Kordansky Gallery’s 40-artist presentation.

Fred Eversley’s crimson cast polyurethane Untitled (cylindrical lens) (2023) foregrounds this extensive booth, which also counts among its highlights a moody flashe and neon on linen, the wine-dark sea (2023), by Mary Weatherford, and Jennifer Guidi’s lively Interaction of Light and Dark (Black Sand with Colored Sand, Colored Rocks, Black Ground) (2023).

“We want to show the breadth, the depth, the diversity of the program with exemplary works by all of our artists,” said the gallery’s senior director Kurt Mueller. He added that this presentation is representative of the gallery, which turns 20 this year, “at this moment in time by showing work by everyone possible.”

It just so happens that this anniversary takes place at a time when many of its artists are hitting sweet spots in their careers, with several museum shows and recent auction records between them. Whether that’s Lucy Bull, who currently has a show at the Long Museum in Shanghai, or Lesley Vance, who has a show on view at the Columbus Museum of Art, this presentation affirms the gallery as one of the core tastemakers of its generation.

Helly Nahmad

Galleries, Booth G5

With works by Pablo Picasso, Joan Miro, Nicolas de Stael, Jean-Michel Basquiat, Jean Dubuffet, Alexander Calder, and Lucio Fontana

Art Basel is known for blue-chip pedigree, and New York gallery Helly Nahmad’s display of 20th-century heavy-hitters is among the most remarkable displays of the category on view.

“We tried to bring works that are seminal paintings of the 20th-century, modern and post-war art,” said Helly Nahmad. “We try to sell the household names, the artists that you know, the modern artists that have influenced contemporary art today.”

Centered by Pablo Picasso’s Le peintre et son modèle (1963–64)—rumored to be priced for north of $10 million, and clearly among the best works by the artist at the fair—the booth makes good on Nahmad’s mission. Jean Dubuffet’s exemplary Paysage du Pas-de-Calais III (1963) exudes large-scale vibrancy, while a series of quieter watercolors by Lucio Fontana offer a delightful complement. Alexander Calder’s Red Sumac (1972), which hangs in the corner of the booth, adds a nice sculptural touch, along with more grounded bronzes by Marino Marini and Alberto Giacommetti.

Sprüth Magers

Galleries, Booth B19

With works by George Condo, Anne Imhof, Rosemarie Trockel, John Baldessari, Andreas Schulze, Pamela Rosenkranz, Sylvie Fleury, Martine Syms, Louise Lawler, Alighiero Boetti, Cao Fei, Sterling Ruby, Henni Alftan, Kaari Upson, Thomas Demand, Bernd and Hilla Becher, Nancy Holt, and Thea Djordjaze

Greeted by a motorcycle on a wooden stage by Anne Imhof, visitors to Sprüth Magers’s booth could be assured that this is not a gallery prepared to play it safe. “We were trying to focus on important positions in the gallery and we were trying to combine all the different generations of artists that we were representing,” said gallery co-founder Philomene Magers. “We just tried to do something that makes sense for the moment of time we’re living.”

Imhof’s work, which was part of a performance piece at the Stedelijk Museum in Amsterdam last year, is one of several works at the booth that challenge the viewer and offers a chance for deeper engagement. John Baldessari’s Two Birds (Feeding): Playthings/Nature/Passer-by/Money (with Lamp) (1992) is a characteristic work showing the artist’s unique ability to turn found photographs into extraordinary juxtapositions. Meanwhile, Pamela Rosenkranz’s Express Nothing (Draw Pain) (2022), draws on the theme of the human body, skillfully applying expressive strokes of color onto shimmering emergency blankets. These blankets are composed of a striking metal-toned material designed to combat hypothermia in urgent situations.

Another highlight is Jenny Holzer’s Fuzz (2022), which draws upon U.S. government documents associated with the “war on terror,” which were made public through the Freedom of Information Act. These documents serve as the artist’s starting point; Holzer enlarged and reproduced a completely redacted page from a memorandum detailing the “approved methods of interrogation” for Al Qaeda members. The page is then artfully concealed beneath layers of gilded paint, adding a distinctive layer of intrigue.

Jack Shainman Gallery

Galleries, Booth P15

With works by Lynette Yiadom-Boakye, Carrie Mae Weems, Hank Willis Thomas, Paul Anthony Smith, Rose B. Simpson, Gordon Parks, Toyin Ojih Odutola, Odili Donald Odita, Richard Mosse, Meleko Mokgosi, Tyler Mitchell, Barkley L. Hendricks, Nick Cave, Diedrick Brackens, and Nina Chanel Abney

Jack Shainman Gallery brought a plethora of works by artists at the top of their game to its extensive booth, from Lynette Yiadom-Boakye’s deft figuration to Odili Donald Odita’s colorful abstract works and the powerful photography of Gordon Parks, Tyler Mitchell, and Carrie Mae Weems.

“Most of the works were created in the last year, with many made specifically for Basel,” explained Tamsen Greene, an executive director at the gallery. “It’s gratifying that our artists embrace the opportunity of the fair to show brand new work straight from their studios.”

Barkley L. Hendricks’s tender portrait JohnWayne (2015) is a highlight on the exterior of the booth, and it is complemented nicely by a playful Nina Chanel Abney canvas. Yet a large-scale work by Botswana-born artist Meleko Mokgosi takes center stage, with a wonderful circus display that depicts figures dancing, playing music, and engaging in joyful celebration.

“We’ve found that the pace [of the fair] this year has been ideal as well,” Greene added. “It’s brisk as usual, but we have had the time to have really meaningful and in-depth conversations with collectors and curators.”

Bridget Donahue

Statements, Booth M3

With works by Satoshi Kojima

Japanese artist Satoshi Kojima is the subject of New York gallery Bridget Donahue’s booth in the Statements section of the fair, dedicated to solo presentations of emerging artists.

The artist, who was the subject of a solo exhibition at the gallery in 2021, creates paintings filled with vibrant patterns in gentle hues. Each work reveals a captivating ensemble of enigmatic figures in symbolic and ambiguous landscapes that bring together the natural and cosmic worlds. Featuring just a handful of works, the booth invites closer inspection and immerses viewers into the artist’s peculiar worlds.

“He’s done a great job to create these kinds of portals through this otherwise very flat oil painting,” said Donahue of the works, which are a fusion of pastel hues, intricately blended through the deliberate combination of four specific pigments. “It’s a very sensuous process,” she added, noting that the presentation marked many visitors’ first time experiencing the artist’s works in person.

In Heart Attack (2022), a man prays inside a vinyl record, while another receives what appears to be heart surgery. In U UR URs (2022), figures stand amidst branches in another mystical setting, rendered in a level of detail that becomes apparent on close inspection.

Company Gallery

Feature, Booth D1

With works by Colette Lumiere

In 1977, Colette Lumiere was invited by the dealer Massimo Minini to perform in his presentation at an art fair that would later be known as Art Basel. She accepted, and, in his booth, went to sleep on a white platform for the duration of the fair, surrounded by postcards depicting scenes from her life.

The performance catapulted the artist into international stardom almost overnight, and Company Gallery revisits this influential moment with a presentation that recalls it, not with Lumiere herself, but with a silicone mannequin “Colette” sculpture (created in collaboration with artist Cajsa von Zeipel), dressed in a corset and surrounded by ruched fabric panels, which are constructed and restored from the original displays from the 1970s.