India Art Fair has announced the launch of a new contemporary art and design fair in Mumbai, India Art Fair Contemporary. The event, which builds on the longstanding success of India Art Fair Delhi, will run from November 13–16, 2025 at Jio World Garden in the heart of the city.

The inaugural fair will feature a curated selection of 50 to 70 exhibitors, including galleries, design studios, and patron-supported booths from India and worldwide. This expansion reflects the growing interest and market potential within Mumbai’s cultural landscape, evidenced by recent developments like the Nita Mukesh Ambani Cultural Centre and a sustained growth in the number of commercial galleries operating in the city.

“The appetite for art in India has grown significantly over recent years, and this is the perfect time to launch a bold new fair focusing on the contemporary moment,” said Jaya Asokan, fair director of both India Art Fair Delhi and India Art Fair Contemporary. “We have been proud to support many of the city’s arts initiatives for several years now, and we could not be more excited to host our first fair right in the heart of Mumbai.”

Mexican artist Teresa Margolles has unveiled her new sculpture Mil Veces un Instante (A Thousand Times in an Instant) on London’s Fourth Plinth, marking the 15th edition of one of the world’s most prestigious public art commissions. Margolles’s work, a tribute to the resilience of the global trans community, features plaster casts of the faces of 726 trans, nonbinary, and gender nonconforming people from Mexico and the U.K.

The 2.5-meter-tall sculpture weighs 3.3 tons and is arranged in the form of a Tzompantli, a Mesoamerican skull rack used to display the remains of war captives or sacrifice victims. As the plaster is exposed to the elements, the details of the faces will slowly fade, symbolizing the erosion of memory and the vulnerability of marginalized communities.

The project has deeply personal roots for Margolles, who created the sculpture in memory of her friend Karla, a transgender woman and artist who was murdered in Ciudad Juárez, Mexico in 2015. Karla’s death remains unsolved, and her story is one of many that Margolles seeks to honor through this work.

“This collective sculpture...stands not only as a display of resilience and humanity from the trans plus/nonbinary community but also as a reminder of the murders and disappearances that still occur, especially in Latin America,” said Margolles. “We pay tribute to those who were killed for reasons of hate, but above all, to those who live on.”

Fashion designer Raf Simons will auction part of his personal art collection, which includes 18 rare Pablo Picasso ceramics. The auction, titled “Design + Picasso Ceramics From the Collection of Raf Simons,” will take place today at the Piasa auction house in Paris.

From 1947 to 1971, Picasso designed approximately 633 ceramic editions, according to Christie’s. The artist experimented with creating household objects, including plates and bowls. All of the 18 works Simons is selling in the auction are either pitchers or vases. The price estimates for these Picasso ceramics range from €8,000 to €200,000 ($8,900 to $222,360).

The most expensive Picasso ceramic work in the sale is Tripode (A.R 125) (1951), a vase with three legs and a face painted in blue, which has an estimate of €150,000–€200,000 ($166,800–$222,360). This piece is labeled “exemplaire éditeur” (“publisher’s copy”) in ink. Picasso authorized the serial reproduction of select models at the Madoura workshop, where he created these ceramics, starting in 1949. Suzanne and Georges Ramié, founders of the Vallauris-based studio, retained an inscribed “publisher’s copy” of each piece for their archives, many of which were sold at Christie’s “The Madoura Collection” auction in 2012.

Richard Pettibone, a leading figure of appropriation art, passed away at 86 on August 19th after a fall. Castelli Gallery in New York, which has represented Pettibone since 1969, confirmed his death.

Born in 1938 in Alhambra, California, Pettibone emerged as a critical voice in the West Coast art scene in the 1960s. There, he attended the Otis Art Institute (now the Otis College of Art and Design), where he earned his MFA in 1962.

In 1965, Pettibone presented his first major exhibition at Ferus Gallery in Los Angeles—the same gallery where, in 1962, Andy Warhol presented a seminal exhibition of Campbell’s soup can paintings. Pettibone admired these works so much that he recreated them, stamping his name on the nearly identical paintings in one of his first acts of appropriation. Over the years, Pettibone replicated works by Roy Lichtenstein and Frank Stella on small “dollhouse” canvases and stretchers.

Belgian gallery Office Baroque will close after 17 years in business. The tastemaking Antwerp-based gallery, founded in 2007 by Wim Peeters and Marie Denkens, announced that it will shut its doors on September 15th following its final show, a group exhibition titled “What Men Live By.”

“With an idiosyncratic, experimental approach, Office Baroque occupied an art world niche in Antwerp and Brussels, away from the buzz of large art capitals,” the founders wrote on their website. “It became a home for some of the most inspiring and diverse voices of our time to exhibit and find their ways into leading institutions, collections, publications, and fairs across the globe. We had set no expiry date, and saying goodbye to an organization that, against all odds, has programmed over 100 exhibitions and participated in leading fairs for more than 17 years, is bittersweet.”

In 2007, Office Baroque opened in a modernist apartment in Antwerp, where the curators staged exhibitions featuring artists such as Owen Land, Matthew Brannon, and Leslie Hewitt, among others. By 2008, the gallery moved into its first storefront in Antwerp’s diamond district. During these early years, the gallery participated in art fairs including Frieze London and Liste Basel, giving it the opportunity to reach international audiences.

Peeters and Denkens moved the gallery to Brussels in November 2013, inaugurating the new location with a solo exhibition from French American photographer Michel Auder. They established a second space in the city in 2015. Over the next decade, the gallery presented exhibitions from rapidly rising artists, including Terence Koh, Mathew Cerletty, and Sophie von Hellermann. Office Baroque moved back to Antwerp in 2022, setting up shop in a former gym.

Julie Mehretu, the celebrated Ethiopian American painter, has been commissioned to create a new installation for the planned Obama Presidential Center in Chicago. This work, titled Uprising of the Sun, will adorn the north facade of the Center’s museum building. The campus, which first broke ground in 2021, is scheduled to open in spring 2026.

“Julie learned at a young age how access to public space can help shape and affect people's lives,” said President Barack Obama. “For her to be a part of what we hope will be a transformative institution that will be unique in how it brings so many different people, ideas, and resources together is a wonderful opportunity for us.”

Uprising of the Sun spans 83 feet by 25 feet and features 35 painted glass panels. This installation is directly inspired by Obama’s speech in 2015 commemorating the 50th anniversary of the Selma marches in Alabama—a key moment in the civil rights movement. In fact, Mehretu initially started this work with an image of Obama and the late U.S. representative John Lewis crossing the Edmund Pettus Bridge in Selma during the anniversary in 2015. She manipulated this image using various digital mapping and design tools while adding elements from Robert Seldon Duncanson’s Land of the Lotus Eaters (1861) and Jacob Lawrence’s screenprint Confrontation on the Bridge (1975). Another inspiration is Ethiopian artist Afewerk Tekle’s giant stained-glass window in Africa Hall in Addis Ababa, where the artist was born.

Working alongside Franz Mayer Studio, Mehretu employed various techniques, such as hand painting, freehand airbrushing, ceramic melting colors, and tape masking, to create this massive abstract glasswork. This is the artist’s first work in this medium.

Hauser & Wirth will now represent Artsy Vanguard 2022 alum Michaela Yearwood-Dan. It will co-represent the British artist with New York’s Marianne Boesky Gallery.

Yearwood-Dan will be the gallery’s new artist in residence at Hauser & Wirth Somerset, with her tenure set from October to November 2024. The gallery will also present a solo presentation of the London-based artist in 2025 at its London gallery. A series of color-soaked abstract paintings by Yearwood-Dan is currently featured prominently in the Dallas Museum of Art’s exhibition “When You See Me: Visibility in Contemporary Art/History,” running until April 13, 2025.

Born in London in 1994, Yearwood-Dan first pursued creative arts such as drama and music. However, after she was passed over during an audition for a prestigious performing arts school, she refocused on painting. She received her B.A. in painting from the University of Brighton in 2016. In the years following her graduation, she participated in group exhibitions across the U.K. at galleries such as Unit in London and Limbo Gallery in Margate, Kent. Her abstract work, rich with personal and cultural narratives, explores themes of identity through botanical motifs, textual elements, and lush coloration.

Often incorporating elements of Blackness, queerness, femininity, and healing rituals, her paintings serve as canvases for diaristic meditations. She layers abstract forms and textures with text pulled from various sources, including song lyrics, poetry, and her own reflections, to create depth and meaning. “There’s a vulnerability and a strength to being a woman, a Black artist, and a queer artist talking about subjects like love in a very personal and diaristic form, and making that a stronger factor than all the larger political identifiers that the wider art world would probably want you to talk about—trauma porn to everyone else apart from those living it,” she told Artsy in 2022.

In response to the lockdowns of 2020, Yearwood-Dan began working with clay, a medium that allowed her to maintain creative momentum. These small-scale sculptures are now installed alongside her paintings, creating immersive gallery exhibitions. This exploration is evident in Let Me Hold You (2022), a 10-foot-tall curved mural previously exhibited at Queercircle in London, which opened as a cultural hub for the LGBTQ+ community. This piece was presented with colorful, functional benches and stools.

Rebecca Horn, a renowned German sculptor, has passed away at 80. Her death was confirmed by her New York gallery, Sean Kelly Gallery, which did not disclose the cause.

“I was privileged to work with Rebecca Horn for nearly four decades both as a curator and her gallerist,” said Sean Kelly. “Rebecca was a heroic, pioneering artist whose fierce independence, energy, and spirit touched everybody who came into her orbit. I am honored to have had the privilege to work with her and to have been able to call her my friend. She will be greatly missed.”

Horn was born in 1944 in Michelstadt, Germany, near the end of World War II. During this time, her family was in hiding to avoid persecution by the Nazis for their Jewish heritage. She began to draw during her early childhood and continued throughout her teenage years, particularly during her recovery from tuberculosis. She briefly attended the Hamburg Academy of Fine Arts in 1964 before dropping out due to health issues related to fiberglass exposure.

Horn’s work in the late 1960s and early ’70s included wearable soft sculptures made from cloth, wood, bandages, and found objects. These were used in performance pieces that navigated the relationship between the body and space. Horn’s performance piece Einhorn (Unicorn) (1970), featuring a conical horn worn on the head of a nude female performer, remains one of her best-known works.

By the 1980s, Horn expanded her practice to incorporate mechanized sculptures. The Little Painting School Performs a Waterfall (1988), for instance, involved mechanized paintbrushes that created dynamic and unpredictable splatters of paint. These explorations continued in the coming decades. Concert of Sighs (1997), her contribution to the 1997 Venice Biennale, featured an installation made from the ruins of Venetian houses and horns that played sighs and whispers.

In addition to her installations and performances, Horn wrote books and screenplays, and also directed several films and operas. Her most famous film is arguably Buster’s Bedroom, a 1990 comedy starring Donald Sutherland and Geraldine Chaplin.

The Armory Show 2024 has named Bahamian sculptor Anina Major the winner of its annual Pommery Prize, supported by Pommery Champagne. The prize grants $25,000 to a single artist from the fair’s Platform section, which is dedicated to large-scale installations and was curated by Eugenie Tsai this year. TERN Gallery is showcasing Major’s sculpture, The Landing (2024).

Positioned at the heart of the Platform section, The Landing showcases multiple ceramic sculptures that resemble woven baskets. These sculptures are placed on two wooden platforms, evocative of a dock. Above, a rotating blue neon sign reads “All Us Come Across Water.” This installation addresses themes of migration and movement, particularly significant to the artist’s home country. The dock’s pallet-like design alludes to persistent commerce in Caribbean ports and the artist’s personal experience moving from the Bahamas to the United States.

“Anina’s work is a testament to the power of creativity and its ability to manifest from the most unexpected places,” said Amanda Coulson, founding director of TERN Gallery. “With her woven vessels, she pays homage to her artistic lineage through her grandmother who passed down the knowledge of straw plaiting which Anina reinterprets in clay. That this most humble of Bahamian traditions—now sadly becoming a lost art due to environmental destruction and invasive forms of tourism—is honored this way in the global stage is incredibly meaningful.”

Previous winners of the Pommery Prize include Barthélémy Toguo, whose sculpture was presented by Galerie Lelong & Co in 2023, and Reynier Leyva Novo, whose work was shown by El Apartamento in 2022.

Meanwhile, the TPC Art Finance Presents Prize has been awarded to Mrs., which is presenting work by Alexandra Barth. This prize is given to one gallery in the Presents section, which is dedicated to young, emerging galleries. Lastly, the Sauer Artist Prize has been awarded to Oliver Herring, whose work is featured at BANK’s booth in the Focus section.

The 2024 edition of The Armory Show is underway at the Javits Center in New York, and several sales were reported at the end of its VIP day. The leading sale reported thus far is Robert Motherwell’s Apse (1980–84), which Kasmin sold for $825,000.

The Armory Show hosts more than 235 participating exhibitors and runs until September 8th. This year’s edition marks the fair’s 30th anniversary and is the first under the ownership of Frieze, which acquired it last July. The company is also concurrently operating Frieze Seoul, which is taking place in the Korean capital until September 8th.

Notable attendees at The Armory Show’s VIP day included Thelma Golden, Anne Pasternak, Agnes Gund, and Paul Rudd.

The headline reported sales from the fair included several six-figure transactions. Along with the sale of the Motherwell work, Kasmin also reported the sale of Walton Ford’s The Singer Tract (2023) for $750,000.

Tang Contemporary Art’s sales were led by an Ai Weiwei bronze casting for $450,000 and also included:

• A painting by Jonas Burgert for $90,000.
• Two oil paintings by Zhu Jinshi for $80,000.
• A painting by Suntur for $22,000.

Michael Kohn Gallery’s reported sales included:

• Two Lita Albuquerque paintings for $75,000 and $95,000 apiece.
• A painting by Nir Hod for $95,000.
• An Alicia Adamerovich painting for $55,000.
• A painting by William Brickel for $10,000.

Eric Firestone Gallery sold two oil paintings by Paul Waters for $100,000 and $50,000 apiece. The gallery also sold three ceramic works by Cybele Rowe for $50,000 each and placed three paintings by Huê Thi Hoffmaster, with prices ranging from $25,000 to $50,000 apiece.

Check back for Artsy’s full sales report from The Armory Show and Frieze Seoul on Monday. Until then, find a selection of other major reported sales from The Armory Show 2024 below.

• Templon sold a Chiharu Shiota sculpture for €100,000 ($111,066) and an Alioune Diagne painting for €85,000 ($94,406). It also sold “multiple” works on paper by Omar Ba for $18,000 each.
• Nature Morte sold an oil painting by Tanya Goel for a price in the range of $100,000–$120,000. The gallery also sold a work by Theo Pinto for a price in the range of $15,000–$18,000 and a work by Martand Khosla for a price in the range of $5,000–$8,000.
• Southern Guild’s sales included two works by Zizipho Poswa for $85,000 and $60,000, and a Manyaku Mashilo work for $60,000.
• Jessica Silverman sold a diptych by Rupy C. Tut for $75,000 and a work by Sadie Barnette for $70,000. The gallery also sold two Julie Buffalohead paintings for $65,000 and $50,000, a ceramic work by Woody De Othello for $30,000, and a work by Pae White for $25,000.
• Larkin Durey sold a painting by Marc Padeu for $70,000.
• Anat Egbi sold works by seven artists in its booth for prices ranging from $20,000–$70,000.
• Hollis Taggart sold a painting by Teruko Yokoi for $65,000, a pair of Dana James paintings for $40,000 and $18,000, a work by Hayoon Jay Lee for $24,000, and a Leatrice Rose painting for $12,000.

• Harper’s sales included Marc Dennis’s Once Upon a Time (2024) for $60,000, Iria Leino’s Explosive Thunder (1970) for $40,000, and Sung Hwa Kim’s Still Life with Jar and New York Sour (2024) for $20,000.
• Nara Roesler’s sales included a work by Vik Muniz for $65,000 and a work by Marco A. Castillo for $60,000. The gallery also placed an Elian Almeida painting for $22,000, a work by Thiago Barbalho for $20,000, and a work by Manoela Medeiros for $13,500.
• WHATIFTHEWORLD sold three Chris Soal works for prices ranging from $16,000–$60,000 each.
• ACA Galleries sold three paintings by Kandy G Lopez for prices in the range of $35,000–$45,000 each.
• Wooson Gallery sold a painting by artist Byung-So Choi for $44,000.
• Library Street Collective sold three works by Akea Brionne for prices ranging from $22,000–$36,000 apiece. It also sold four works by Paul Verdell for prices ranging from $7,000–$9,500 each.
• Cob sold seven oil paintings by Tomo Campbell, ranging in price from £17,500 ($23,000) to £30,000 ($39,500) each.
• The Hole sold half their presentation of works by Andy Dixon, with prices in the range of $10,000–$32,000 each.
• rosenfeld sold a painting by Ruozhe Xue for $30,000.
• Edwynn Houk Gallery sold a Ron Norsworthy work for $28,000 and an Erwin Olaf print for $18,000.

Sasha Gordon has become the youngest artist to join the roster of David Zwirner after the gallery announced its representation of the 26-year-old painter today. The mega gallery will co-represent Gordon with Los Angeles and New York–based tastemaker Matthew Brown.

David Zwirner will debut a new painting by Gordon as part of its booth at Frieze London next month, and a solo exhibition of the artist’s work is planned for September 2025 at the gallery’s 19th Street location in New York.

Gordon, who was featured in The Artsy Vanguard 2022, has rapidly found acclaim for her hyperrealistic and uncanny paintings, which explore the artist’s identity as a biracial queer woman. The artist had her first solo show “Enters Thief,” with Matthew Bown in 2021 and her New York solo debut with Jeffrey Deitch the following year. Last year, Gordon was the subject of a solo presentation at the Institute of Contemporary Art, Miami (ICA Miami), “Surrogate Self,” as well as a solo show with Stephen Friedman Gallery in London.

“I saw Sasha Gordon’s work for the first time late last year at the ICA Miami and was floored by the power of those paintings,” Zwirner said. “I felt that I was in the presence of an artist of our time and for our time, an entirely new voice, a painter who is pushing the genre into uncharted territory. I’m excited for our first show together next year, and I am especially pleased that I can collaborate with Matthew Brown, one of the most talented gallerists of his generation.”