Art Basel Miami Beach’s 23rd edition came to a close on Sunday, December 7th, hosting 283 galleries at the Miami Beach Convention Center. From the outset of the fair’s VIP day on Tuesday, December 3rd, a sturdy pace of deal-making was consistent across the fair’s run.
“Miami was fun this year!” Marc Glimcher, CEO of Pace Gallery, said in a statement, hailing this year’s fair as a “great wrap-up to a fall where we truly saw the market turn around.”
Indeed, galleries were quick to report a raft of transactions on VIP day, with a $5.5 million Gerhard Richter painting at David Zwirner’s booth leading the ticket. The next day, Lévy Gorvy Dayan placed Andy Warhol’s Muhammad Ali (1977), with a listing price of $18 million. That transaction was the most expensive reported at the fair overall, and many dealers echoed Glimcher’s observation that the market is experiencing a renewed bout of momentum this season.
Andy Warhol, Muhammad Ali, 1977. Courtesy of Lévy Gorvy Dayan.
“Art Basel Miami Beach has been a triumphant finale after a historic year for our team and our artists,” Eric Gleason and Nicholas Olney, co-founders of Olney Gleason, said in a joint statement. The gallerists noted that the fair “confirmed the market return we started feeling during the October fairs in Europe.”
The last major art fair of the year and the anchor in a week of glitzy parties, brand activations, and nearly 20 satellite fairs taking place in town, Art Basel Miami Beach is closely watched as much for its associated spectacles as for its sales. Perhaps the most talked-about item of the week came from inside Art Basel at its new digital art section Zero10, where the faces of figures including Elon Musk and Jeff Bezos were grafted onto a pack of robot dogs. The installation by Beeple, Regular Animals (2025), drew crowds and cameras across the week as the robot dogs intermittently entered “poop mode,” indicated by their LED screens, tipping backward and ejecting printed images.
Every edition of the works (priced at $100,000 apiece) sold at the fair, providing an apt illustration of the sentiment at the fair overall: that much of the buzz around the aisles was translating into hard business.
“I am thrilled by the energy, ambition, and creativity that reverberated within and beyond our halls,” said the fair’s director, Bridget Finn, in a statement.
Below is a review of the most notable reported sales at Art Basel Miami Beach 2025:
In addition to the $5.5 million sale of a Gerhard Richter work reported on VIP day, David Zwirner gallery reported the following sales:
A painting by Alice Neel for $3.3 million
Two works by Josef Albers from the Homage to the Square series for $2.5 million and $2.2 million
A painting by Dana Schutz for $1.2 million
A work by Ruth Asawa for $1.2 million
Other sales ranged from $50,000 to $500,000
Hauser & Wirth reported notable sales, led by: George Condo, Untitled (Taxi Painting) (2011) – $3.99 million
Other reported sales included:
Louise Bourgeois’s Persistent Antagonism (1946–48) and Mr. Follett: Nursery-Man (1944) for $3.2 million and $2.5 million, respectively.
Ed Clark, Paris Series (1990) – $1.2 million
Henry Taylor, Every Brotha Has a Record (2020) – $1.2 million
Rashid Johnson, Standing Broken Soul “Nowhere Man” (2025) – $1 million
Other sales ranged from $150,000 to $800,000
Almine Rech reported significant sales, led by the sale of a Pablo Picasso painting in the range of $2.8–3 million.
Other reported sales included:
James Turrell – $900,000–$1 million
Larry Poons, painting – $275,000–$300,000
Joe Andoe, painting – $110,000–$120,000
Emily Mason, painting – $110,000–$120,000
Vaughn Spann, painting – $75,000–$80,000
White Cube reported its sales topped by a landmark work by Willem de Kooning:, Untitled Woman (1978) – $2.85 million
Other sales included:
Damien Hirst, When the Heart Speaks (2005) – $2.5 million
Tracey Emin, To Much Force (2025) – £1.2 million (~$1.6 million)
Andreas Gursky, Harry Styles (2025) – €1.2 million (~$1.4 million)
Other sales ranged from $155,000 to $1 million
Thaddaeus Ropac’s reported sales were led by a work by Alex Katz at $2.5 million.
Other details included:
Another work by Alex Katz, Wildflowers 1 (2010) – $1.5 million
Georg Baselitz, Selbstportrait 1953, 18.V.97 (1997) – €1 million (~$1.16 million)
Three works by Robert Longo – $750,000, $225,000, $120,000
Other works ranged from $80,000 to $600,000
Sprüth Magers reported sales led by George Condo at $1.8 million.
Other details included:
Another work by George Condo, Open Forms (2024) – $1.2 million
Craig Kauffman, No. 1 (1963) – $450,000
Other sales ranged from $20,000 to $300,000
P.P.O.W reported the sale of Martin Wong, Tai Ping Tien Kuo (Tai Ping Kuo) (1982) for $1.6 million.
Pace Gallery’s top sale was Sam Gilliam, Heroines, Beyoncé, Serena and Althea (2020) – $1.1 million
Other reported sales included:
Loie Hollowell, Cadmium Red Brain on Mauve Background above Blue Water (2025) – $450,000
Lynda Benglis, Fanfaronade (1979) – $400,000
Emily Kame Kngwarrey, Yam Dreaming (1995) – $350,000
Other sales ranged from $110,000 to $320,000
Notable blue-chip sales at Art Basel Miami Beach 2025 included:
Lehmann Maupin – Do Ho Suh, Some/One (2014) – $1 million
Xavier Hufkens – George Condo sculpture – $650,000
Maruani Mercier – Andy Warhol, Ladies and Gentlemen (Alphanso Panell) (1975) – $700,000–$800,000
Mitterrand – Group of Richard Pettibone paintings – $800,000
Karma – Reggie Burrows Hodges, Labor: Sound Bath (2022) – $750,000
David Kordansky – Rashid Johnson, God Painting “I Dream A Lot” (2025) – $750,000
Lisson – Anish Kapoor, Untitled (2015) – £500,000
Do Ho Suh, Some/One, 2014. © Do Ho Suh. Courtesy the artist and Lehmann Maupin, New York, Seoul, and London.
Additionally, dozens of galleries including Jessica Silverman, Perrotin, Goodman Gallery, Mai 36 Galerie, Southern Guild, and others reported successful sales ranging from $20,000 to $98,000, reflecting a dynamic mid-tier and emerging market.
Art Basel Miami Beach 2025 was not only remarkable in terms of sales volume but also in restoring market confidence. From multi-million-dollar blue-chip sales to broad enthusiasm for contemporary and emerging artists, the edition offered a clear picture of renewed energy and liquidity in the global art market.