The 10 Best Booths at Art Basel in Miami Beach 2022

The star power was out in full force at the VIP opening of Art Basel in Miami Beach on Tuesday at the Miami Beach Convention Center. Some of the regulars among celebrity collectors, like Leonardo DiCaprio and Martha Stewart, opted for a lower, stealthy profile, while others like Venus Williams, Pharrell Williams, Doja Cat, and Eric André were as enthusiastic about socializing as they were the art itself. Throughout the day and into the evening, it was not uncommon to pass by a booth and see someone like Pharrell or Venus deep in conversation with an artist or gallerist.

The rise in celebrity art collectors, particularly those in support of artists of color, has shifted over the past few years and has brought a much-needed change in the atmosphere of the standard art fair, especially one like Art Basel in Miami Beach. Although the fair celebrated its 20th anniversary this year with its largest edition to date, many fairgoers felt that the atmosphere was stale and saturated with works by the white male artists that long dominated the art market. One fairgoer even described a few of the larger booths of established galleries as “giving garage-sale vibes.”

Indeed, many individuals commented on the striking absence of the curatorial effort that has become common at major art fairs. Fortunately, by the late afternoon, attitudes had improved, as social circles were abuzz and collectors discovered their hidden-gem booths. There were a handful of true hits, though, with many fairgoers sharing the same recommendations to their friends, colleagues, and anyone who would listen—reminding us of good art’s capacity to shift a collective audience’s mood.

There were big-ticket sales throughout the day, with Pace Gallery selling an Andy Warhol flower silkscreen painting from 1964 for $3.8 million; and a work by Agnes Martin, Untitled #14, for $7 million. David Castillo Gallery sold a new work by Vaughn Spann entitled Marked Men (factors of loss) (2022) to the de la Cruz Collection in Miami for $180,000. Lehmann Maupin sold a McArthur Binion painting, DNA:Study/(Visual:Ear) (2022), to a trustee at the Whitney Museum of American Art for $225,000.

“Miami feels particularly global this year—more so than ever before,” said Lehmann Maupin co-founder David Maupin. “A strong demand for museum-quality works is coming from all corners of the world.” Indeed, the fair proved itself once again as a prime space for much-coveted museum acquisitions.

Outside of the main galleries section, museum-quality works sprawl across the convention center in the dynamic Meridians section. Curated by Magalí Arriola, Meridians features large-scale works that intentionally push the boundaries of the art fair layout. Back again this year are the Nova, Positions, and Survey sections, which focus on galleries showcasing works by one to three artists; emerging galleries; and galleries that highlight works of historical relevance, respectively.

To help you navigate all of the impressive works on display, we share here our list of the 10 best booths at Art Basel in Miami Beach 2022.

Jeffrey Deitch

Booth J7

With works by Chinaza Agbor, Isabelle Albuquerque, Bisa Butler, Vanessa Beecroft, Judy Chicago, Nadia Lee Cohen, Veronica Fernandez, Shyama Golden, Genevieve Gaignard, Jewel Ham, Kezia Harrell, Ariana Papademetropolous, Francis Picabia, Su Su, Swoon, Alix Vernet, Nadia Waheed, Rikki Wright, and Kennedy Yanko

Jeffrey Deitch was the social butterfly at the fair. His gallery’s booth is curated around the theme of the goddess, largely featuring work made for the occasion by women artists of color. In addition to stellar works, the artists themselves could be found at the booth, which not only added to the social atmosphere, but made the VIP day feel more like an opening at a gallery than a vernissage at a fair.

Artists Su Su and Bisa Butler were both excited by the lively crowd at the booth. “Jeffrey puts artists at the front.…[He] creates opportunities for artists to connect with one another and clients. There’s a lot of sociality at the booth that does not leave me feeling vulnerable when I speak about my work to others,” Su Su told Artsy, adding that she’d had the opportunity to speak in depth with Pharrell about her work—specifically, how she reclaims the masculine dragon figure in Chinese culture in service of femininity.

Pharrell wasn’t the only celebrity who stopped by Jeffrey Deitch’s booth; Eric André and Martha Stewart, among others, were also drawn to the presentation. Gallery representative Simon Brewer told Artsy that Jeffrey Deitch’s presence at Art Basel in Miami Beach has been consistent, having participated in each edition of the fair since its 2002 Miami inception, and in the same spot on the fair map. “Our booth just has this personal flavor to it…we’re interested in the hospitality of being at the fair, and for a moment, when the Rubells were here speaking with the artists, it felt like the entirety of the fair was here,” said Brewer.

The booth was grounded by ​two Venus of Willendorf sculptures by Judy Chicago (priced at $225,000 each) and Butler’s towering portrait quilt of Salt-N-Pepa (priced at $175,000). Speaking of the work, Butler told Artsy, “I grew up in the 1980s and [they] represented what was cool to me: These strong beautiful Black women who kicked down doors in a male-dominated industry.” The work was made specifically for the booth after Butler received a personal call from Deitch, who discovered the artist’s work following her successful 2020–21 solo exhibition at the Art Institute of Chicago.

By the evening, most of the works had sold, with the gallery prioritizing institutional interests for larger-scale works.

Nara Roesler

Booth B11

With works by Elian Almeida, Jonathas de Andrade, Alexandre Arrechea, Brígida Baltar, Daniel Buren, Cristina Canale, Carlito Carvalhosa, Marco A. Castillo, Marcos Chaves, Antonio Dias, Bruno Dunley, André Griffo, JR, Isaac Julien, Maria Klabin, Lucia Koch, Karin Lambrecht, Jaime Lauriano, Julio le Parc, Artur Lescher, Heinz Mack, Marco Maggi, Manoela Medeiros, Fábio Miguez, Raul Mourão, Vik Muniz, Tomie Ohtake, Abraham Palatnik, Rodolpho Parigi, José Patrício, Berna Reale, Daniel Senise, Marcelo Silveira, Sérgio Sister, Amelia Toledo, Xavier Veilhan, and Angelo Venosa

Nara Roesler did not disappoint in its booth delivery at Art Basel in Miami Beach. The Brazilian gallery brought museum-quality works and clear showstoppers, like Raul Mourão’s enthralling large-scale moving wood sculpture that sold for $150,000 by the late afternoon (the gallery will host a special collaboration with Mourão on New York’s Park Avenue in 2023). Overall, Nara Roesler aimed to tell a story about the far-reaching appeal and growing institutional recognition of Brazilian artists.

For example, Jonathas de Andrade’s clay sculptures of the lower half of a male body wearing swimming shorts attracted numerous viewers, both at the gallery’s booth and in the Meridians section (the latter co-presented with Galleria Continua). De Andrade represented Brazil at the 59th Venice Biennale this year.

By the evening, multiple works had sold (priced between $75,000 and $150,000), including sculptures by Xavier Veilhan, Marco A. Castillo, and Vik Muniz, going primarily to private collectors, and some institutional holds had been placed.

moniquemeloche

Booth G25

With works by Candida Alvarez, Sanford Biggers, Layo Bright, Antonius-Tín Bui, David Antonio Cruz, Dan Gunn, Kajahl, Lavar Munroe, Maia Cruz Palileo, Ebony G. Patterson, Cheryl Pope, David Shrobe, Jeff Sonhouse, Arvie Smith, Jake Troyli, and Nate Young

Chicago-based gallery moniquemeloche has one of the fair’s most breathtaking installations: Ebony G. Patterson’s …when the bellying is evidenced in the arch of a back…and the coupling of gun metal birds reminds us….love is still here… (2022). This captivating, jewel-toned jacquard tapestry is adorned with glitter, costume jewelry, beads, and fabric, against a vinyl wallpaper. By midday Wednesday, the work was acquired by the Indianapolis Museum of Art.

Indeed, institutional representatives were heavy at the fair and circled moniquemeloche’s booth throughout the day—individuals from Pérez Art Museum Miami, the Brooklyn Museum, and ICA San Diego all stopped by. A large-scale wool “painting” by Cheryl Pope (priced in the range of $30,000–$50,000) sold to MOCA Jacksonville by midday of the VIP opening.

Separately, the gallery’s highest-priced work, a jaw-dropping marble sculpture by Sanford Biggers (priced in the range of $100,000–$250,000), sold within minutes of the fair’s opening.

By the day’s end, a few pieces were still available, including large-scale oil paintings by Maia Cruz Palileo, whose portraits on their family history have been prominently featured across group exhibitions this year to great acclaim.

Night Gallery

Booth P4

With works by Samara Golden

Night Gallery consistently delivers impressive fair booths, and its delivery at Art Basel in Miami Beach is no exception. The booth features a solo display of sculptures by Samara Golden and is structured around a large-scale painted foam installation that resembles human guts. Golden’s practice is unique for not only her immersive installations, but for her use of common materials found at pharmacies and hardware stores rather than art supplies. This is evident in the guts installation and the smaller-scale sculptures that are painted with nail polish.

Night Gallery founder Davida Nemeroff told Artsy that the decision to bring Golden to Art Basel in Miami Beach was to push the boundaries of what art is, rather than focusing on commercial success. “[Art] is about challenging the notions of beauty…art collecting used to be challenging,” Nemeroff said. “I think this [work] speaks to that level of [serious] collecting.”

Golden did make a more domestic-sized version of the large-scale installation, which the gallery placed with a collector by midday for $50,000.

White Cube

Booth E8

With works by ​​Darren Almond, Michael Armitage, Mark Bradford, Günther Förg, Theaster Gates, Louise Giovanelli, Mona Hatoum, Al Held, Damien Hirst, Robert Irwin, Imi Knoebel, Jeff Koons, Liu Wei, Christian Marclay, Ilana Savdie, Danh Vo, and Jeff Wall

White Cube’s staff were in great spirits by midday of the VIP opening. “It’s been good energy, it’s really good to be back again,” said gallery director Georgie Wimbush. She noted that the afternoon crowd was far more enthusiastic than the opening hours, which were dominated by a more serious crowd that was important for sales, but can take away from the fun of the fair.

The gallery has brought out heavy-hitters in a stellar presentation curated by gallery director Daniela Gareh to fit the long, corridor-like booth. “We’re not shy about what we bring because there is a hunger and dedication to house big works, or to be able to work with more conceptual artists like Robert Irwin,” said Wimbush. “For us, this is the fair that we bring the harder works to…because people here are willing to take on big works.” She added, “There are not many places where we would be willing to ship a Jeff Koons of this size,” referring to the nearly five-foot-tall sculpture of an oversized yellow bowl filled with white eggs.

The booth also features an incredible, small-scale Jean-Michel Basquiat work that was a delight to encounter, placed thoughtfully next to a piece by Theaster Gates. By midday, most of the works were on hold with collectors.

Pilar Corrias Gallery

Booth D13

With works by Ragna Bley, Peppi Bottrop, Ian Cheng, Cui Jie, Keren Cytter, Gerasimos Floratos, Sophie von Hellermann, Helen Johnson, Hayv Kahraman, Kat Lyons, Tala Madani, Manuel Mathieu, Gisela McDaniel, Sofia Mitsola, Sabine Moritz, Elizabeth Neel, Mary Ramsden, Rachel Rose, Tschabalala Self, Shahzia Sikander, and Vivien Zhang

London-based Pilar Corrias’s booth features a powerful arrangement of works by largely women artists, with Tschabalala Self’s arrangement of pastel-colored sculptures and prints beautifully occupying the opening foyer. The pieces are part of a new body of work that the artist unveiled in London in October, featuring her signature distorted Black femme figures that challenge the erasure and Western distortion of various types of Black American femininity.

Inside the booth are awe-inspiring, tapestry-esque abstract paintings by Helen Johnson, who creates work inspired by her training as a therapist in a psychiatric unit. Gallery representative John Utterson took time to highlight the uniqueness of Tala Madani’s chalkboard painting, one of only three the artist has made. Another one of the trio is featured in Madani’s mid-career survey currently on view at MOCA Los Angeles through February 23, 2023.

Additionally, Cui Jie’s pastel-hued abstract paintings mix a variety of references to create a postmodern architectural landscape that evokes the Bauhaus movement, mid-20th-century Chinese propaganda art, society communist aesthetics, and the architecture of Japanese Metabolism. By midday, Utterson noted that sales were brisk and steady.

Herlitzka + Faria

Booth S3

With works by Alicia Herrero

Herlitzka + Faria certainly has one of the smaller booths featured at the fair, though its scale does not make the works on view any less impressive. Located in the fair’s Survey section, the booth includes work from Alicia Herrero, a prominent Latin American feminist artist. On view are a selection of large-scale, flatly rendered paintings from the 1990s that show women’s bodies being flayed apart by domestic household items like knives, cooking equipment, and other appliances.

The paintings offer a poignant commentary on how everyday items can be turned into weapons of violence against women. The works are especially resonant in light of growing accounts of femicides that have occurred from the late 20th century, sadly, through today.

Gallery co-director Mauro Herlitzka described the paintings as proto-feminist work of Latin American artists of the 20th century. “Herrero’s work navigates the female body as a weapon, as battlefield, as a bridge of the [difficulty] of expressing oneself in a male-dominated society,” he told Artsy.

By the evening, the booth was fairly quiet after fielding strong interest and foot traffic throughout the day. While no works had sold (all priced between $35,000 and $50,000), that will likely change by the end of the fair, given the presentation’s relevancy and under-the-radar appeal.

Gallery Hyundai

Booth F3

With works by Quac Insik, Kim Tschang-Yeul, Chung Sang-Hwa, Seung-taek Lee, Park Hyunki, Lee Kun-Yong, Lee Kang-So, Choi Minhwa, Minjung Kim, and Kang Seung Lee

Gallery Hyundai has mounted a highly curated booth showcasing Korean art history. The diverse set includes an assortment of paintings, large-scale sculptures, and several works on paper from the mid–20th century to the present.

Gallery Hyundai co-director Sunghee Lee noted that it was important for the gallery to use the fair as an opportunity to introduce Korean art to a larger international audience. Critically, she explained, the institutional representation of Korean art on a global scale is still lacking. Co-director Jaeseok Kim added, “We specifically made a show that would demonstrate the various styles present in Korean art history, from modernism to contemporary work of LGBTQ communities.”

One striking piece that stands out is Kang Seung Lee’s Untitled 2 (2021), a photo collage on Korean men and the HIV/AIDS epidemic. By midday, several works by Minjung Kim, priced between $80,000 and $130,000, had sold, and other smaller works in the booth were on hold. Most of the interest was coming from private collectors, some of whom were affiliated with museum boards.

Welancora Gallery

Booth N17

With works by Carl E. Hazlewood

In the Nova section of the fair, Welancora Gallery presents a stunning display of abstract paintings by Carl E. Hazlewood. Hazlewood, who was born in 1951, has been on the rise over the past few years due to the increasing popularity of Black abstraction. The brightly colored vertical panels evoke the works of Sam Gilliam and Frank Bowling.

Gallery director Ivy Jones told Artsy that enthusiasm for Hazlewood’s work was running high throughout the opening day, and attributed that in part to enthusiasm for the Nova section. “Nova is one of the smaller sections of the fair…I think people come to it looking for exciting, new artists that are not as prominent as some of the others in the main section,” Jones said.

By midday, the gallery had sold one of the nine available paintings to a private collector for a price in the range of $22,000–$28,000. With several pieces left by the day’s end, Hazlewood’s awe-inspiring, ethereal abstractions are poised to become highly sought-after.

Kendra Jayne Patrick

Booth N4

With works by Teresa Baker, Sharona Franklin, and Constanza Camila Kramer Garfias

Also in the Nova section, Kendra Jayne Patrick has brought an incredibly conceptual and thoughtful three-artist presentation, with works by Teresa Baker, Sharona Franklin, and Constanza Camila Kramer Garfias.

The artists collectively work with various found materials to interrogate questions of disability, colonialism, and femininity in the West. For example, Garfias’s work grapples with the history of the loom in relation to her pre-Colombian heritage, not unlike the work of Sarah Zapata.