Art Basel Paris, the French iteration of the Swiss art fair, is now in its second year at the Grand Palais, where under an ethereal glass-and-iron vault, the international art world materializes for a week in late October. More than 200 galleries from 41 countries, as well as thousands of collectors, advisers, curators and market-watchers, convened. So enthusiastic were the buyers that the usual Oct. 22 VIP opening was preceded by a VVIP sale the night before, which alone generated what market-watchers cheered as a healthy $90 million in reported sales. Before the fair closes on Sunday, that number is expected be in the hundreds of millions.
It’s a commercial frenzy, but in contrast to other art fairs, the Paris event stands out for the quality and quantity of its public programming. Call it a French thing, a civic investment in culture, or focus on the fact that galleries benefit from presenting their artists in the prestigious sites that Paris can offer (Place Vendôme and Palais Royal)—a page out of the Fashion Week playbook. Yet the public and private aims of the fair seem to pull in different directions, serving completely different populations: Can a fair conceived of for art-world insiders really work like a public festival?
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