This year’s edition of Art Paris was, as always, the place to be in springtime for modern and contemporary art. The fair closed its doors on Sunday, April 6, having welcomed a record number of 86,975 visitors (compared to 69,575 in 2024, representing an increase of 25%).
As Art Paris returned to the magnificent light-filled setting of the Grand Palais – enhanced by its recent renovation and seen to its advantage thanks to the beautiful weather – the press and visitors alike hailed this 27th edition as the most successful in the fair’s history. It was truly a lovely and joyous moment full of emotion and far from the turmoil of the world today. A leading Parisian springtime event for modern and contemporary art, this edition of the fair boasted an exceptionally rich and varied program. In addition to 170 exhibitors from 25 different countries, two new sectors located on the balconies overlooking the nave were big crowd-pullers. Promises brought together 25 young galleries, whereas the French Design Art Edition, co-produced with Le FRENCH DESIGN, featured 18 exhibitors (galleries, architectural firms, and design studios) in addition to a group show focusing on limited editions and contemporary decorative arts. Two themes ran though this record-breaking edition: Immortal: A Focus on Figurative Painting in France (curated by Amélie Adamo and Numa Hambursin) and Out of Bounds, placed in the capable hands of Simon Lamunière.
The fair also featured 26 solo shows, five exhibitions organized by private and institutional partners (Malala Andrialavidrazana by Art Absolument, Le chuchotement des mains by Camille Fournet Paris, Le Fonds d’art contemporain-Paris Collections, NEUMA, The Forgotten Ceremony by Villa Hegra, and Transcription(s) by Montresso*- Art Foundation), and a cycle of a dozen talks, not forgetting a monumental installation by Sophie Ryder presented by GOWEN Gallery. Guests invited by the participating galleries had the benefit of a VIP program that included 32 visits to exhibitions and cultural events across Paris. On Friday, April 4, there was a festive air in the Grand Palais as Art Paris premium partner BNP Paribas Banque Privée and Art Paris put on a special evening event accompanied by a series of performances by Poush. Numerous official visits also took place during the fair, including that of Brigitte Macron accompanied by the Queen of Denmark. The fair also welcomed 96 Friends of Museum groups (mostly European), which represented an increase of more than 20% compared to 2024.
This year, two prizes underlined the fair’s commitment to supporting artists: The BNP Paribas Banque Privée Prize. A focus on the French scene was awarded to Les filles du calvaire artist Thomas Lévy-Lasne, who received the sum of €40,000. The winner of this second edition of the prize was chosen from among 25 nominees selected from the artists participating in Immortal: A Focus on Figurative Painting in France, curated by writer and independent curator Amélie Adamo and Numa Hambursin, general director of MO.CO. (Montpellier Contemporain).
The new Her Art Prize for international women artists was awarded to Zhanna Kadyrova. This prize launched in 2025 by Marie Claire and Art Paris in partnership with Boucheron rewards both a bold body of work that pushes back the limits and the career of a committed woman artist chosen from among those exhibiting at the fair. Ukrainian artist Kadyrova, who is represented by Galleria Continua, received her award and €30,000 prize from Maison Boucheron during a moving ceremony presided over by French actor Elodie Bouchez.
Despite the financial crisis triggered on April 2 (the first day of the fair) by the increase in U.S. tariffs, sales picked up over the weekend after a slow start. The results were positive overall for all our exhibitors, even if the current context of uncertainty did seem to slow down sales to a certain extent.
Some exhibitors in the general sector did better than in 2024: Galerie Dina Verny had its best ever Art Paris results with the 6-figure sale of a sculpture by Maillol. Galerie Boquet was in a similar situation having found a buyer for its Picabia for the price of €120,000. Michel Rein sold some fifteen artworks for prices ranging from €4,000 to €45,000 (for a sculpture by Edgar Sarin). Galerie Loevenbruck was equally satisfied having sold 30 artworks priced between €3,500 and €50,000 (for a sculpture by Dewar & Gicquel), as was Almine Rech with 6 artworks that sold for between €25,000 and €160,000 (for a tapestry by Claire Tabouret). Nathalie Obadia (15 works with a stunning €364,000 for a painting by Mickalene Thomas), Templon (20 works sold, including a piece by Kehinde Wiley that sold for €180,000), Galleria Continua (8 works sold, including a Pascale Marthine Tayou acquired for €135,000), Clémentine de la Féronnière (her solo show featuring Belgian artist Jesse Willems sold out with prices ranging from €4,000 to €18,000), and Pauline Pavec (who sold a painting by Juliette Roche for €50,000) were equally satisfied.
Among the newcomers, Lange + Pult was pleased with its first participation, as were Waddington Custot and W&K – Wienerroither & Kohlbacher, who sold a Nacktstuhl (Naked Chair) by Franz West for €30,000 and BSL gallery, whose sales ranged from €2,900 to €130,000.
Several galleries in the Promises sector for young galleries sold out or came close, including Galerie Prima (fifteen works by Héloïse Rival and Bryce Delplanque sold for between €2,000 and €7,000), EDJI Gallery, which presented a Killion Huang solo show, and Cuturi, with figurative works by Israfil Ridhwan. The Arnaud Rochard solo show at Felix Frachon was another success with prices ranging from €3,500 to €28,000, whereas Anne-Laure Buffard sold some twenty pieces for between €1,200 and €18,000 (the latter for a painting by Gregory Hodge).
All the exhibitors at the French Design Art Edition were equally successful. Ten enameled tables by Patrick Jouin sold on the first day. Architects Jakob+MacFarlane— who designed the original exhibition space for the French Design Art Edition —found purchasers for all their armchairs and sofas. Across the sector, numerous private orders were placed for amounts ranging from €20,000 to €100,000.
Finally, many exhibitors pointed out a qualitative increase in the number of visitors, which corresponds to a rise of 30% in the number of professionals and collectors hailing from 35 countries (mainly European).
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