The 10 Best Booths at Art Basel Miami Beach 2025

Art Basel Miami Beach returned for its 23rd edition on December 3rd, when its VIP day got underway at the Miami Beach Convention Center. Featuring some 283 galleries from 43 countries, this year’s fair remains the main event of the U.S. art world’s most chaotic week of the year.

Beyond the convention center walls, Miami’s art scene is in full throttle. Nearly 20 satellite fairs are taking place across the city this week, ranging from the emerging art–focused NADA to the expansive Untitled Art. Local spaces are also fueling the excitement. Tastemaking gallery Spinello Projects packed in crowds for a celebration of its 20-year anniversary, and the ICA Miami opened a slate of new exhibitions, including solo shows for Joyce Pensato and Richard Hunt.

As the largest art fair in the Western Hemisphere, sales at Art Basel Miami Beach are always closely watched, and the fair is widely viewed as something of a bellwether week for the art market. Events leading up to this year’s fair have offered a tentatively positive picture following last month’s New York auctions, where more than $2 billion of art was sold,

The fair’s director, Bridget Finn, shared an upbeat outlook for the fair and the Miami art scene. “It’s so alive [in Miami], and it’s full of energy,” Finn said, pointing out the fair’s ability to connect the art world with adjacent cultural industries. “What’s kind of unique about the Miami Beach show is that the contemporary and modern art conversation leads the way, but it also provides such rich entry points for music, fashion, film, all of these other creatives,” Finn said. “It’s such a unique moment in terms of the American cultural calendar.” And while 14 galleries withdrew from the fair in its lead-up, Finn also noted that 17 galleries are returning to the Miami Beach Convention Center following a hiatus.

Indeed, early sales appeared to add ballast to Finn’s optimism, with a flurry of seven-figure transactions reported by galleries. Leading the sales was a $5.5 million abstract Gerhard Richter painting at David Zwirner’s booth. Read Artsy’s day-one sales report here, and check back on Monday for our full sales report.

Here, we present the 10 best booths from Art Basel Miami Beach 2025.

With works by Frida Kahlo, Leonora Carrington, Leonor Fini, Esteban Francés, Max Ernst, Yves Tanguy, Kay Sage, and Maria Kreyn.

Booth J2

Frida Kahlo’s Autorretrato en Miniatura (ca. 1938), the only miniature self-portrait the artist created, is the quiet star of Weinstein Gallery’s booth. Priced at $15 million, the tiny work was painted for the poet José Bartoli, who kept it in his possession for half a century, and today it comes from the personal collection of gallery founder Rowland Weinstein. The timing for its appearance is also apt, with Kahlo becoming the most expensive woman artist at auction during last month’s New York sales.

“My whole career has been about promoting who I thought were the great unsung women artists and particularly the Surrealists,” Weinstein told Artsy. Indeed, the entire presentation at the Californian gallery’s booth draws from the gallerist’s personal collection. Another standout, Leonora Carrington’s painting Sueño (Nephesh as the Soul in a State of Sleep) (1959), depicts a mystical procession featuring mythological animals and divine ghostly figures.

The booth also features the first living artist the gallerist has shown in two decades: American painter Maria Kreyn, who creates fantastical, stormy landscapes. Kreyn’s four works are priced at $30,000 apiece.

With works by Frank Walter, David Austen, Hayley Barker, Robert Coutelas, Andrew Cranston, Nick Goss, Mia Kokkoni, Aubrey Levinthal, John Joseph Mitchell, Christopher Colm Morrin, Craig Murray-Orr, Catherine Ross, Ellen Siebers, and Joel Tomlin.

Booth G19

Edinburgh’s Ingleby Gallery is honoring the centenary of the late Antiguian painter Frank Walter with a presentation that situates his work alongside 13 contemporary artists the gallery believes he would have exhibited with. “The kind of exhibition he never got to take part in during his life, but which we hope he might have enjoyed,” as the gallery’s associate director Molly Ingleby put it to Artsy.

Four small paintings by Walter line the outer walls of the booth, among them the intimate still lifes Untitled (Mango) and Untitled (Sea Grape) (both n.d.), each set within custom circular frames that echo their compact scale. Alongside works like Black Swans with Sunburst (n.d.)—depicting three swans gliding across a pond as sunlight breaks through the clouds—they capture the flora and fauna of his surroundings with unpretentious clarity.

The latter work is paired with similarly compact pieces, including John Joseph Mitchell’s A Bowl of Oranges (2025). The American artist’s painting focuses on a bowl of oranges and birds floating outside the kitchen window, an intimate view that resonates with Walter’s own reverence for the world. Works in the booth range from £3,500 ($4,660) to $120,000 apiece.

With works by Masami Teraoka

Booth S

For its debut appearance at Art Basel Miami Beach, Catharine Clark Gallery spotlights 89-year-old Japanese American artist Masami Teraoka with a presentation entitled “Waves and Plagues,” a reimaging of its major survey exhibition of the artist in 2023.

Part of this booth is rooted in the artist’s searing “AIDS” series. These works channel the devastation of the epidemic through his signature blend of Ukiyo-e aesthetics and contemporary sociopolitical themes. Commanding the booth is Father and Son (1990), a nearly 9-foot watercolor that renders two figures in the final stages of infection with heartbreaking clarity. This work is priced at $250,000.

On both side walls, the gallery presents a series of elongated horizontal watercolors. To the left, New Views of Mt. Fuji/Dolphins and Samurai (1979) features giant dolphins crashing through the surf as samurai fishermen struggle to stay afloat. Founder Catharine Clark noted the work is a sharp critique of “environmental concerns and overfishing,” particularly on how globalized tuna fishing kills dolphins. On the right, Study for Wave Series/Molokai Lookout Point (1984) depicts a more serene—yet still powerfully turbulent—ocean vista.

The works in the booth are priced as low as $500 for some of the artist’s studies on paper, up to the most expensive painting, Father and Son, which is priced at $250,000.

With works by Elise Asher, Lauren dela Roche, Sari Dienes, Martha Edelheit, Mimi Gross, Colleen Herman, Huê Thi Hoffmaster, Marcia Marcus, Christabel MacGreevy, Sana Musasama, Joe Overstreet, Pat Passlof, Jeanne Reynal, Miriam Schapiro, Paul Waters, Nina Yankowitz

Booth D1

Of the many monumental works at Eric Firestone Gallery’s booth, the most arresting may be Joe Overstreet’s vast painting Indian Sun (1969). This kaleidoscopic geometric spiral—long thought lost and known only from a 1970 Time magazine issue featuring the work—was recently rediscovered in his studio. It stands at the heart of the booth, strategically placed at the end of one of the convention center’s long corridors of galleries.

The New York gallery is presenting several large-scale works, including Lauren dela Roche’s Subterranean Babbling Brook (2025), featuring several lounging nude women in a dreamlike cityscape.

The gallery is also showing new ceramics from 68-year-old ceramist Sana Musasama. These vertically stacked sculptures evoke totems or temples—multicolored forms adorned with intricate patterns and mask-like faces. The works in the booth range from $5,000 to $550,000 for the Overstreet painting.

Works by María Berrío, Secundino Hernández, Kudzanai-Violet Hwami, Isaac Julien, Idris Khan, Yayoi Kusama, Doron Langberg, Alice Neel, Maria Nepomuceno, Chris Ofili, Celia Paul, Conrad Shawcross, Do Ho Suh, Sarah Sze, Adriana Varejão, and Flora Yukhnovich.

Booth B5

Six years ago, Victoria Miro debuted one of only six existing Yayoi Kusama infinity mirror rooms designed to use natural light rather than electricity. All of the original editions sold, but this year, one of them returns as the centerpiece of the booth, where attendees lined up to visit throughout the VIP day.

Where the Lights in My Heart Go (2016) is punctured with small apertures, allowing slivers of exterior light to pierce the darkness. “There’s a simplicity about it, which I think is really beautiful,” gallery president Glenn Scott Wright told Artsy. “From the ambient light alone, you have this sense of being immersed in the night sky.

The eminent London gallery also features several standout portraits, including María Berrío’s Clouded Infinity (2020)—a quiet depiction of a woman seated on a couch, rendered through the Colombian artist’s signature collage of Japanese paper over canvas. This is positioned near another standout, Alice Neel’s Richard (1980), which portrays the profile of a man in blue sitting on a striped bench.

Elsewhere, tucked away in the back of the gallery’s booth is a selection of Celia Paul’s paintings, almost abstract scenes that ripple like water. One example, Lapping Waves (2017), presents a hazy view of water washing up onto a beach. Works in the booth range in price from $30,000 to $6 million.

With works by Nike Davies-Okundaye

Booth S5

Nigerian textile artist Nike Davies-Okundaye, who comes from five generations of artists and made her first textile work at just six years old, is the focus of Lagos-based gallery kó’s presentation. Davies-Okundaye—one of 10 women artists included in Tate’s Nigerian Modernism exhibition—is showcased here through a selection of her richly patterned textile works from across her career.

Davies-Okundaye told Artsy that all of her works, which are meticulously hand-stitched bead mosaics and textiles, “come from my dreams.” One striking example in the booth is Flying Angel (1969), featuring a giant winged, horse-like creature protecting the artist (featured as a small figure on the left side of the angel) from the evils of the world.

At 74, the artist remains committed to sustaining a centuries-old Yoruba weaving tradition through her practice. The works in the booth range from $35,000 to $120,000.

With works by Alejandra Venegas, Andrés Pereira Paz, Brenda Cabrera, Circe Irasema, Eduardo Terrazas, Gabriel de la Mora, Guillermo García Cruz, Hilda Palafox, Iván Krassoievitch, Josué Mejía, and Néstor Jiménez

Booth E25

The most striking works at Proyectos Monclova Gallery’s booth are the series of paintings by Hilda Palafox, each depicting partially nude women in various forms of communion with nature. In Puente (2025), for instance, a procession of colossal women wades through a green sea as a lone figure watches from shore. Palafox brings these figures fully into three dimensions with her sculpture Figura 19 ((In)alcanzable) (2025), which positions two women face-to-face, their arms intertwined. Together, these works imagine a quietly dominant matriarchal world.

The rest of the Mexico City gallery’s booth offers a strong cross-section of leading Latin American artists. Gabriel de la Mora’s 9,063 – Pa.Ul., from the series Lepidóptera (2025) sits at the center of the booth. The Mexican artist arranged 9,063 Papilio ulysses butterfly wings to create a frenetic optical illusion. Meanwhile, Circe Irasema’s three-dimensional paintings on wood, including Soporte vital, resistencia dinámica – Francisco Moyao (2025), resemble VHS cases.

Sales director Alexandra Lovera told Artsy that the two largest works by de la Mora sold for $200,000–$300,000 apiece, calling the VIP day’s energy “truly palpable.”

With works by Kamyar Bineshtarigh, Chloe Chiasson, Amine El Gotaibi, Bonolo Kavula, Manyaku Mashilo, Roméo Mivekannin, Nandipha Mntambo, Zanele Muholi, Ambrose Rhapsody Murray, Ayotunde Ojo, Zizipho Poswa, Usha Seejarim, Marcus Leslie Singleton, and Dominique Zinkpè

Booth B10

Southern Guild’s presentation quite literally includes a section of a studio wall. Kamyar Bineshtarigh’s Brett’s Studio Wall(2025) is constructed from layers of paint, masking tape, collaged paper, dried sunflower, and other materials lifted directly from his friend Brett’s workspace. The work is part of the Iranian artist’s ongoing practice of creating works directly on the walls of close friends and peers’ studios, preserving their creative environments as living records of artistic community and process.

That is just one of two massive works on display at the South African gallery’s booth. The other is Zizipho Poswa’s Isacholo (2024), a 9-foot-tall bronze sculpture. The Cape Town–based sculptor is inspired by her Xhosa heritage. For this work, the title refers to a traditional beaded bangle worn by Xhosa people, an Indigenous group that primarily lives in South Africa. This work is priced at $350,000.

On the outside of the booth, the gallery features a new painting by The Artsy Vanguard 2026 artist Manyaku Mashilo. In the Radiance of Stars (2025) depicts eight poised figures standing against a star-studded black sky anchored by a red moon glowing in the corner. The price range for the booth is $15,000 to $350,000.

With works by Emma Amos

Booth S8

During the 1984 and 1988 Olympics, the late American artist Emma Amos depicted several leading athletes, including track stars Carl Lewis and Evelyn Ashford. These portraits line the walls of RYAN LEE’s sports-themed booth of works by the artist and are among the few paintings Amos created using her own weaving integrated directly into the canvas.

“These works, imbued with a sense of history and the artist’s handmade weaving, are unique and inventive as they depict iconic Black athletes at the top of their game,” gallery partner ​​Jeff Lee told Artsy.

Another star, the running back Emmitt Smith—who played for both the Florida Gators and the Dallas Cowboys—appears in Football Player and Alligators (ca. 1987), head down as he barrels forward, number 22 on his jersey. In Star and Leopard (1983), a basketball player twists mid-motion, his musculature emphasized by Amos’s woven elements: an interplay of strength and grace portrayed with the artist’s own meticulous practice. The works in the booth range in price from $35,000 to $575,000.

With works by Ana Tonico Lemos Auad, Jonathan Baldock, Sarah Ball, Caroline Coon Alexandre Diop, Andreas Eriksson, Denzil Forrester, Kendell Gee Wayne Gonzales, Hulda Guzmán, Holly Hendry, Jim Hodges, Ilon Roberts, Anne Rothenstein, Yinka Shonibare, Jaune Quick-to-See Walker, Clare Woods, Yooyun Yang, and Luiz Zerbini; and Ghada Amer, El Anatsui, Winston Branch, Nolan Oswald Dennis, Leonardo Drew, Jared Ginsburg, David Goldblatt, Dor Guez, William Kentridge, Kapwani Kiwanga, Atta Kwami, Misheck Masamvu, Cassi Namoda, Shirin Neshat, Hank Willis Thomas, Clive van den Berg, and Carrie Mae Weems.

Booth D15

One of a handful of collaborative booths at this year’s fair is also one of the strongest: Stephen Friedman Gallery and Goodman Gallery have joined forces to present a major selection from Yinka Shonibare’s ongoing “Library” series, which has previously included installations at Tate Modern.

The bold installation at this booth features hundreds of books bound in kaleidoscopic Dutch wax batik cloth, materials long entangled with colonial trade and a hybrid cultural identity. Each volume bears the name of a scientist, scholar, or cultural innovator whose ideas have shaped our understanding of the world. By gathering these figures together on the shelf, Shonibare honors intellectual histories and draws attention to the sheer breadth of voices that have shaped global knowledge.