Galerie Buchholz


Anne Imhof Untitled, 2020 EUR 5,000

Galerie Buchholz’s presentation for Art Basel Miami Beach OVR is devoted entirely to a new group of drawings by Anne Imhof (b. 1978), which the artist made in preparation for her current and upcoming institutional exhibitions “Sex” at the Castello di Rivoli Museo d’Arte Contemporanea in Torino, and “Natures Mortes” at the Palais de Tokyo in Paris.

Since 2011, Anne Imhof has produced a series of plays, durational performances in which a group of performers gather together for a number of hours, moving according to what seems a loose score that evokes atmospheres of adolescent desire, waiting, non-activity, aggression, and action, at times interfacing the performers with the audience, following a logic or structure of music and its underground cultures.

Anne Imhof’s drawings are essential to the artist’s formative process for the choreographies within her plays, although they are compositions in their own right as well. They are concerned with movements and constellations of her invented figures, gestural through rapid successions of contours. This is seen most vividly in ink lines overlaying some of the drawings and with intrusions of color, specifically ochre, that work as a kind of graphic notation onto the otherwise monochromatic graphite and ink drawings.

Anne Imhof’s practice has been widely exhibited, notably with her exhibition “Angst” at the Kunsthalle Basel in 2016, the exhibition “Faust” in the German Pavillion for the 2017 Venice Bienniale which won the Golden Lion, and her exhibition tour “Sex” that debuted in 2019 at Tate Modern in London, then traveled to the Art Institute of Chicago, and is now in its third iteration at the Castello di Rivoli in Torino.


In Reality | We Shift by Pilar Corrias

Ian Cheng Entropy Wrangler (Atik), 2013 Video/Film USD 100,001 – USD 200,000

Ian Cheng, Gerasimos Floratos, Cui Jie, Hayv Kahraman, Sabine Moritz, Ken Okiishi, Philippe Parreno, Robert Reed, Vivien Zhang propose new ways of abstracting chronology and the thresholds of our being; while Helen Johnson, Tala Madani, Gisela McDaniel, Sofia Mitsola, Elizabeth Neel, Christina Quarles, Rachel Rose, Tschabalala Self, Shahzia Sikander, and Sophie von Hellermann challenge the myths we construct about ourselves, upending the bounds of society that can no longer be held so dear.

Vortic Walk Through:

New Works by Altman Siegel

Sara VanDerBeek
Roman Woman XXXIX, 2020
USD 20,000

On the occasion of Art Basel’s OVR: Miami Beach, Altman Siegel is pleased to present a selection of works by gallery artists created this year. Considering divergent subjects drawn from nature, technology, and culture past and present, the exhibiting artists formulate unexpected connections. Including work by artists new to our roster alongside longtime contributors, together, this presentation conveys the multifaceted character of our program.

This includes recent paintings from Troy Chew, Liam Everett and Koak; new works on paper from Jessica Dickinson and Lynn Hershman Leeson; brand new photographs from Trevor Paglen and Sara VanDerBeek; as well as the latest sculpture from Simon Denny. The grouping of the selected practices emphasizes the conceptual rigor, technical proficiency, and nuanced aesthetic approaches that the gallery’s program has become known for.

Amalgam by Regen Projects

Marilyn Minter Static, 2020 Photography USD 48,000


This diverse grouping is unified by an approach to verbal or visual form that presents the unitary as the fragmented, the whole within the detail, and the sum within the parts. Loosely referencing the title of Theaster Gates’s 2019 exhibition at Palais de Tokyo and Tate Liverpool, Amalgam also has inspired this compendium. Literally an amalgam is the union of disparate objects merged into something new, a chemistry that mixes and blends.

Representing a large variety of media, scales, and formats, the artworks on view are unified by the differing means through which they present both content and form at once to make meaning from the material ’stuff’ of vision, language, and the world. In so doing, each work wrangles numerous individual elements into a singular composition. Whether through the graphic fragmentation and repetition of language employed in Doug Aitken’s REALITY FRACKING, 2020, the three dimensional collage of Elliott Hundley’s Mirror, 2020, the many distinct elements reflecting a piece of the same image in Anish Kapoor’s Random Triangle Mirror, 2014, language wrought as the wreckage of letter forms in Glenn Ligon’s Study for Debris Field #29, 2018, the many techniques and styles of painting fused into composition in Christina Quarles’s Get Lifted, 2020, or the very amalgam of historical objects and meanings framed as one in Theaster Gates’s Malaga Vitrine #6, 2019, the artworks presented here address our historical moment as something fragmented and disconnected, but nonetheless united and whole in our common experience of dissonance and harmony together and all at once.


Leidy Churchman, Alex Da Corte, Robert Gober, Gary Hume, Julien Nguyen, Ken Price, Paul Sietsema, Terry Winters by Matthew Marks Gallery


Ken Price Inhospitable Terrain, 2005 Work on Paper USD 30,000


Steffani Jemison, Dec 2 – 6 & Pedro Wirz, Dec 5 – 6 by Kai Matsumiya

Kai Matsumiya Steffani Jemison In Succession, 2019 Video/Film USD 12,500

Kai Matsumiya features presentations by the artist Steffani Jemison followed by another presentation by Pedro Wirz. The weaving theme focuses on the links instantiated and embodied between the storytelling act and the real through art practice. Storytelling reshapes our understanding of the present through history, utopic possibilities, and imagined forms with traced genealogies, whether such forms are delivered from archival or ancient materials, technological enhancements, mythological interpretations, childhood imaginations, or ruins made sublime. Herein we present two iterations of storytelling and how they have been applied from the art practices by Steffani Jemison and Pedro Wirz. Jemison will show throughout the entirety of the OVR presentation (December 1st to December 6th) and Wirz will make his introduction on the third day on December 4th.

Jemison’s presentation synthesizes her longstanding research into the material, symbolic, physical, and cultural interpretations of the mark as constituent elements of both writing and drawing. The presentation brings together three bodies of work, each mining Black material and cultural history to imagine new possibilities for the future: the “Same Time” series of drawings on clear film, velvet, and other supports; the “Black Utopia” photographic works on mirrored acrylic; and recent inkjet prints that expand individual marks into maze-like universes. To create drawings in the “Same Time” series, Jemison refers to divine notes found in the notebooks of James Hampton and Ricky McCormick. Using acrylic paint, Jemison isolates and abstracts individual glyphs and phrases that resemble letters but resist interpretation. Related untitled inkjet prints use technology to “fill” the space that surrounds encrypted marks, creating new contexts and meanings. The mysterious and painterly “Black Utopia” works conjure images of haunted figures and rural landscapes. In all three bodies of work, the artist’s use of archival material is less about representing the past than about reshaping our understanding of how history affects the present.

Pedro Wirz’s practice can be understood as an introduction to an end so that something can begin anew. Consider the world enveloped with office carpet where it serves as the chief nutritive source like soil. In such a world, nature, culture, and technology integrate not as separate entities but as a cohesive ecosystem. Technology itself finally bleeds alongside nature as if both are intertwined as one. Animalistic and insect-like architectures resembling nests, cocoons, and eggs fuse with human cultural practices. Raw new cosmic life abounds. A group of sculptures composed through the assemblage of existing mundane objects with precast/formed ones made of unprocessed materials, such as soil, beeswax, twigs, will be shown. Reflecting on his fascination about how non-organic forms intertwine with organic ones in relation to starting-over again, Wirz cites his upbringing raised by a biologist and agronomist within the Paraiba Valley in Brazil. There, shifting population sizes and changing demographics since the colonial era, resulted in massively changed landscapes in which the relationships among nature, culture, technology, ruins, and rebirth came into question. Such changes continue to this day.

Miami Beach 2020 by Skarstedt


Christopher Wool Untitled, 1992 USD 2,000,001 – USD 3,000,000

A selection of works by Georg Baselitz, George Condo, Eric Fischl, KAWS, Barbara Kruger, Richard Prince, Robert Rauschenberg, David Salle, Cindy Sherman, and Christopher Wool.


Baseera Khan, Brian O’Doherty, Veronika Pausova, Emily Mae Smith, and Jesse Wine by Simone Subal Gallery


Veronika Pausova
shower head in blue, 2020
USD 4,500

Simone Subal Gallery presents new and historical work from a cross-section of their program, featuring works by Baseera Khan, Brian O’Doherty, Veronika Pausova, Emily Mae Smith, and Jesse Wine. The works on view put into new understanding the evolving nature of identity, the perniciousness of the art historical canon, the meaning of the creative act, and the construction of symbolic meaning.

Baseera Khan’s highly poetic and political art practice uses their body as a site to investigate how subjectivity is shaped by social environments and capitalist systems. Personal experiences of being surveilled and how this coincides with the construction of gender and their Muslim identity greatly informs Khan’s work. Khan melds a diverse range of themes from subgenres of indie rock to interpretations of the Koran, often emphasizing cross-cultural and post-colonial themes, as with their Columns series. Khan’s work belongs to the collections of the Solomon R. Guggenheim Museum, Walker Art Center, and Kadist Foundation.


Beneath the Surfaces by Galerie Thomas Schulte


Rebecca Horn
Das Blau des Himmels, G. Bataille, 2014
EUR 150,000


The seven artists of our presentation have in common the reappropriation  and redefinition of the notion of surface with different means. Whereas Michael Müller creates a series of paintings called “In Front and Behind the Glass”, Idris Khan superimposes many layers of words on his blue canvas until they disappear, both conceptually and physically. Rebecca Horn tends to question the relationship between various surfaces in her installation “Das Blau des Himmels”.  The German artists Jonas Weichsel uses the surface of his works as a ground to question his own relationship to traditional painting, playing with the ambiguity between bi- and third dimensionality. In another way, Albrecht Schnider constantly confronts the raw canvas to brilliant colors, creating a subtle game with materialities.


Beyond the Canvas: Avant-garde Italian Art by Tornabuoni Art

Leggio da musica, 1962 – 1975
USD 500,001 – USD 750,000


For the digital edition of Art Basel Miami Beach 2020, Tornabuoni Art presents an overview of the avant-garde artistic movements of the Post-War Italian era with a selection of works from the most iconic artists of that time in response to the growing interest in Italian art from private collectors as well as museums and institutions all over the world.

The strength of the artists Tornabuoni Art presents lies in the new artistic languages they created, whose influence spanned well beyond Italian borders.

The 1960s were a memorable period for young Italian artists seeking new forms of expression, which rejected the popular and traditional realism of the time and responded to the avant-garde of the first half of the 20th century. These artists explored abstraction and created work that included the viewer in their art in a way that had never happened before. Through their work, which often stretched, distressed and shaped the canvas in novel ways, they encouraged the viewer to question the idea of art, the artwork and its environment up until today paving the way for contemporary artists and installation art.

This visual and conceptual breakthrough took place in the main centers of this artistic revolution – Milan, Turin and Rome – where Alberto Burri, Alighiero Boetti, Lucio Fontana, Enrico Castellani, Agostino Bonalumi and Paolo Scheggi experimented with form and material.

These key figures challenged the structure of the artwork, creating a shift from either completely flat paintings or three-dimensional sculptures to an in-between condition questioning the relationship between art and form. These artists were eager to transform art both in its visual perception and also from an intellectual point of view, so as to make the canvas a place of conceptual experimentation.

In Milan Lucio Fontana (1899-1968) explored materials beyond the canvas and the colours he used, combining them to create a specific and primal gesture, piercing and slashing the canvas. His radical vision was explained in his Manifesto Blanco (1946) that proposed a new dimension beyond the flat surface of the canvas.

Enrico Castellani (1930-2017) arrived in Milan after having studied in Brussels. He evolved along with Lucio Fontana and Piero Manzoni, whose work and concepts profoundly influenced him. He created monochromatic canvases that transform into constantly changing surfaces thanks to the use of nails beneath the surface that shape, almost mold, the canvas creating undulating effects of light and shadow.

In the wake of Enrico Castellani and Lucio Fontana, Paolo Scheggi (1940-1971) endeavored to transcend monochromatic painting by superimposing several layers of canvas that he called “picture-objects”. He included his work into the Spatialism of Fontana and focused on primary elements, such as the point, the line and simple geometric shapes questioning the perception one has of the physical nature of the canvas.

In Rome, Alberto Burri (1915-1995), who is associated with the materialist current of Informal Art, defied the conventions of fine arts by creating works with raw materials from his everyday environment, highlighting their visual qualities while also transforming them. Between chaos and control, his innovative way of working went beyond the artistic trends of his time.

Following these artistic developments, Alighiero Boetti (1940-1994) became one of the figureheads of Arte Povera and used simple, ‘humble’ materials and techniques (ballpoint pen, cardboard, and even postal stamps) in his work. He privileged the creative process rather than the finished object, creating ‘rules’ for making his artworks, which others could execute and exploring notions of duality and multiplicity, order and disorder.

Tornabuoni Art presents a representative overview of the innovative languages of the Italian Post-War artistic scene and to introduce contemporary artists whose work has been  influenced by these Italian art movements .

Recent and historical works that consider and expand on the particularities and characteristics of our experience of time. Experiences that feel increasingly relevant in these extraordinary days, in both our public and private lives. Reflecting our exhibition program from Vancouver, as well as works exhibited in significant museum exhibitions and projects internationally, the gallery present new and historical works by Abbas Akhavan, Valérie Blass, Raymond Boisjoly, Rochelle Goldberg, Brian Jungen,  Duane Linklater, Tanya Lukin Linklater,  Liz Magor, Elizabeth McIntosh and Ron Terada


“A world and a small house“ – Traditions and Evolutions of Conceptual Art and Arte Povera by Kewenig


Christian Boltanski Portraits – Grosse Hamburger Strasse, 2001 Installation USD 100,001 – USD 200,000


For Art Basel Miami Beach’s Online Viewing Room, KEWENIG is presenting a carefully curated presentation of pivotal positions of Conceptual Art and Arte Povera like Jannis Kounellis, Mario Merz, Hanne Darboven and Christian Boltanski represented by major and historical works, which will create a dialogue with more recent works by Cabrita and Sean Scully that due to their use of material and conceptual approach stand in the tradition of those tendencies. Newer works by Ghada Amer, Leiko Ikemura Liliane Tomasko and Sandra Vásquez de la Horra highlight the contemporary aspect of these installations.

A major figure of the Arte Povera movement, Italian artist Mario Merz (1925-2003) started constructing igloos in 1968, describing them as ‘the ideal organic shape … both a world and a small house … a synthesis, a complex image’, adding, ‘I thoroughly torment the elementary image of an igloo, which I carry inside myself’ (1971).

The igloo „Albero Grande Solitario“ (1995) is both a mental living space and a refuge as a place of encounter and communication, and a metaphorical form in which Merz correlates the internal and the external, the desired and the protected. Its organic form, composed by both technological and natural materials like steel, glass, stones and brushwood, stands for the origin of life.

Jannis Kounellis, known as a founding father of the Arte Povera, collaborated with the gallery since its beginnings. He was widely acclaimed for his radical use of industrial and organic materials such as steel, wool, coffee beans, or tar. We will present a rather light installation by the Greek-born artist, consisting of a sewing machine hanging on an iron rod (Senza titolo, 1997). The motif and use of old sewing machines is recurrent in Kounellis’ installations. They contain connotations of industrial production, but also evoke the anonymous memory of the people who worked with it. ‘Senza titolo’ was exhibited in “Jannis Kounellis – Die Front, Das Denken, der Sturm” at Museum Ludwig, Halle Kalk in Cologne in 1997 and is published in the accompanying catalogue.

“Hommage an meinen Vater” (1988) by Hanne Darboven consists of twelve columns of handwriting on checked paper, in allusion to the twelve months of the year, and sixteen rows. Each drawing in the first column on the left contains the title of the work and a photograph of the artist’s beloved father, who was later a passionate hunter, and his dog. “Hommage an meinen Vater” (1988), which the artist created 20 years after her father’s death, applies Darboven’s method of marking time in literal and memorial senses to her father’s life, covering each day in it across a grid of 192 pages. The content includes application of her characteristic mathematical operation to every date in his life. She thus takes visibly laborious time to consider time through the means a calendar of sorts of times measurement.

Cabrita  is one of the most prominent Portuguese artists of today. Among other venues, his works have been presented in the Documenta IX, at the 50th and the 55th Venice Biennale.

Cabrita Reis’s oeuvre is strongly defined by his origins and his surroundings. At the same time, he concerns himself again and again with fundamental issues of art, for example the concepts of painting and sculpture or drawing in space with sculptural mediums. In his work he breaks all the formal rules and artistic conventions, reinterpreting abstract forms and often, as if by magic, converting them into enigmatic objects.

For his last exhibition in the San Feliu Oratory in Palma de Mallorca the artist converted, through an impressive installation of solid iron beams, the space into one of unsuspected fragility. In doing so the installation distorted the robust architecture of the old chapel  and the spectator was left immersed in a strange atmosphere in which contradiction weighs heavily and where one must reconsider where the point of balance lies.

Christian Boltanski’s installations become places of remembrance. Point of reference of “Portraits – Grosse Hamburger Straße” from 2001 is Boltanski’s work „The Missing House“ which he realised in 1990 at Große Hamburger Straße 15 in Berlin. This street was once called „Street of tolerance “, since it used to be a meeting point for people of different religions and social backgrounds. Shortly after reunification Boltanski created there his permanent installation „The Missing House“: 23 badges with the name and jobs of former inhabitants of the building attached to the walls. During his research Boltanski found a b/w photograph with a group of children from the former jewish school on the same street, that was closed in 1942 and converted by the Gestapo into a camp for jewish citizens.

Internationally renowned as a painter, Sean Scully works across several materials such as stone, steel and wood in his large-scale sculptures. Following the concept of stacking blocks and lines of colour in his paintings, Scully’s ‘Zinc Tanks’ consists of piled up old corrugated water tanks. The monumental sculpture is part of the artist’s current exhibition at Skulpturenpark Waldfrieden in Wuppertal.


OVR: Miami Beach by Esther Schipper 


Julia Scher
American Tanks, 2001
EUR 45,000


For ‘OVR: Miami Beach,’ we decided to build the booth we had carefully planned and conceived for the fair in our gallery. Most of the works that are on view in our Online Viewing Room are also physically installed in our showroom.

At a time when digital fairs are becoming the norm, we are approaching ‘OVR: Miami Beach’ with a more traditional methodology — including building an actual booth model — and we are determined to offer visitors a physical experience to complement our virtual presentation.

With works by: Martin Boyce, Matti Braun, Etienne Chambaud, Thomas Demand, General Idea, Andrew Grassie, Ann Veronica Janssens, Philippe Parreno, Ugo Rondinone, and Julia Scher.


Victoria Miro | Art Basel OVR: Miami Beach


Do Ho Suh
Door Locks: London, New York and Seoul Homes, 2020
Mixed Media
USD 65,000


An iconic Infinity Net and an important, rarely-seen dot painting by Yayoi Kusama, new works inspired by the myth of the satyr by Chris Ofili, urgent, process-driven abstract works by Howardena Pindell, key architectural motifs by Do Ho Suh and new paintings by Sarah Sze, brought together for their rich use of colour, feature in this special online presentation.

Displacement. Borders. Belonging by Vermelho

mela Gross Via Láctea [Milky Way], 1979 USD 10,001 – USD 25,000

Vermelho is reflecting on the global crises by bringing together works that have the political geography as a connecting point.

ABMB is traditionally an event were all art community gathers from all over the globe and, with this momentary  impossibility, Vermelho decided to approximate pieces that articulate issues of displacement, borders, belonging, warfare and the global division of wealth.


2020 Art Basel Miami Beach by Kukje Gallery

Superflex We Are Having The Time of Our Lives, 2019 EUR 35,000


Kukje Gallery was founded in 1982 by Hyun-Sook Lee in Seoul’s Insa-dong and relocated to Sogyeok-dong in 1987. Since its inception, Kukje Gallery has served as a major cultural center in Seoul, introducing important works by leading modern and contemporary artists and establishing itself as Korea’s leading gallery. Major solo exhibitions have showcased the work of acclaimed international artists including Pierre Jeanneret, Louise Bourgeois, Candida Höfer, Paul McCarthy, Jenny Holzer, Bill Viola, Anish Kapoor, Roni Horn, Julian Opie, Jean-Michel Othoniel, and Ugo Rondinone. At the same time, Kukje Gallery has been committed to educating international collectors and institutions about Korean art history as well as promoting the work of some of Korea’s most important artists including Wook-kyung Choi, Kim Yong-Ik, Koo Bohnchang, Kimsooja, Park Chan-kyong, Kyungah Ham, Haegue Yang, and Sungsic Moon. Kukje Gallery has also been a regular participant in international art fairs including Art Basel, the world’s largest art fair, in which it has taken part since 1998; the gallery remains deeply committed to establishing a dialogue with international audiences who had previously been unacquainted with Korean art.

Equally as important, Kukje Gallery has made a strong commitment to and supports important postwar Korean artists including Kwon Young-Woo, Park Seo-Bo, Ha Chong-Hyun, and Lee Ufan. Internationally known as the founding members of “Dansaekhwa,” Kukje Gallery has introduced these seminal artists onto the global stage. As a part of the “Collateral Events” at the Venice Biennale in 2015, the gallery mounted an unprecedented exhibition of Dansaekhwa artists, celebrating these important figures and providing essential context to recognize their historical contributions. The following year, the gallery launched another special exhibition focused on these artists in collaboration with the Boghossian Foundation in Brussels, titled When Process Becomes Form: Dansaekhwa and Korean Abstraction. These two consecutive exhibitions were together a tremendous milestone, establishing the vitality of Korean art history and leading the ongoing interest in Dansaekhwa by framing its development alongside and in conversation with the West. In 2018, Shanghai’s Powerlong Museum opened Korean Abstract Art: Kim Whanki and Dansaekhwa, the first-ever comprehensive exhibition of Korean abstract art to be held in China, which established a platform for continued dialogue on the aesthetic impact and ongoing importance of Dansaekhwa internationally.


OVR: Miami Beach by Kayne Griffin Corcoran

Kayne Griffin Corcoran is pleased to present work by Mary Corse, Sarah Crowner, Sam Moyer, Mary Obering, Beverly Pepper, Mika Tajima, Hank Willis Thomas and James Turrell as part of Art Basel Miami Beach Online Viewing Room.

Mary Corse was most recently the subject of a survey exhibition at the Whitney Museum of American Art which traveled to the Los Angeles County Museum of Art. Her works reside in the permanent collections of the Solomon R. Guggenheim Museum, the Whitney Museum of American Art, the Menil Collection, the Los Angeles County Museum of Art; the Museum of Contemporary Art, Los Angeles and the J. Paul Getty Museum, among many others.

Sarah Crowner was awarded the 2019-2020 Rome Prize by the American Academy in Rome. Recent projects include participation in the 57th edition of the Carnegie International (2018); scenography and costume design for Jessica Lang’s “Garden Blue” with the American Ballet Theater (2018); as well as the permanent site-specific installation at the Wright Restaurant at the Guggenheim Museum (2017.)

Sam Moyer just recently unveiled a massive three-part sculpture which marks the threshold between the open oasis of Central Park and the bustling built environment of Midtown Manhattan as part of Public Art Fund. Her works are included in prominent collections including the Whitney Museum of American Art, New York; Yale University Art Gallery, New Haven; Louis Vuitton Foundation, Paris and the Davis Museum, Wellesley College, MA amongst others.

Mary Obering has lived and worked in New York City since 1971. Obering’s works have been included in exhibitions at 1975 Whitney Biennial, Artists Space, New York;  the Wadsworth Atheneum, Hartford, Connecticut. Her works are in the permanent collections of major institutions, including The Whitney Museum of American Art, Aldrich Museum of Contemporary Art, The Detroit Institute of Art, Museum of Fine Arts, Boston, and the Wadsworth Atheneum.

Beverly Pepper’s works have been exhibited and collected by major museums around the world, including the Metropolitan Museum of Art and the Whitney Museum of American Art in New York, the White House Sculpture Garden, the Hirschhorn Museum, and the Smithsonian Institution in Washington, D.C., Les Jardins du Palais Royal in Paris, the Palazzo degli Uffizi in Florence, and numerous other national museums in Europe and Asia.  She was a recipient of The Alexander Calder Prize, the International Sculpture Center’s 2013 Lifetime Achievement Award and Chevalier de l’Ordre des arts et des lettres in France.

Mika Tajima is currently working on a commission for the Dezaifu Tenmangu Shrine in Fukuoka Japan set to be completed in 2021 Public collections include: San Francisco Museum of Modern Art, San Francisco, CA; Dallas Museum of Art, Dallas, TX; Albright-Know Art Gallery, Buffalo, NY; Hammer Museum, Los Angeles, CA; Los Angeles County Museum of Art; and the Hirschhorn Museum and Sculpture Garden, Washington, D.C.

Hank Willis Thomas’ first comprehensive survey Hank Willis Thomas: All Things Being Equal…opened in the fall of 2019 at the Portland Museum of Art in Portland, OR. It has since traveled to a number of other institutions throughout the country. His work is included in numerous public collections including the Museum of Modern Art, New York, NY; Solomon R. Guggenheim Museum, New York, NY; Whitney Museum of American Art, New York, NY; Brooklyn Museum, New York, NY; High Museum of Art, Atlanta, GA, and the National Gallery of Art, Washington, D.C.

James Turrell is the recipient of several prestigious awards such as the Guggenheim and MacArthur Fellowships, He currently resides in Flagstaff, Arizona, in order to oversee the completion of his most important work, a monumental land art project at Roden Crater, an extinct volcano the artist has been transforming into a celestial observatory for the past forty years.


Mel Bochner by Peter Freeman, Inc.


Mel Bochner Kick Against The Pricks, 2020 Painting USD 50,000

“I see, hear, and feel a living, breathing, drooling, sneezing, pissing painter and writer—a terribly sympathetic protagonist priming his canvas as he feeds a fresh sheet of paper into the typewriter, continuing to explore something tangible yet intangible…searching for something out beyond zilch.” – Jeremy Sigler [1]
Peter Freeman, Inc., is pleased to present the newest paintings by Mel Bochner, who has had one-person shows at the most prestigious museums, from The National Gallery of Art in Washington, D.C., to Haus der Kunst in Munich. On view for the first time, these text-based works pulse with a strong vein of irony and humor. Words and phrases spill, drip, and accumulate to the point of obliterating themselves in palimpsests of illegibility, across compact surfaces of canvas. Juxtapositions of bright colors play off each other and amplify the visual impact of Bochner’s investigation of language.

A perfect foil to the virtual, through their insistence on the body and the senses, Bochner’s paintings transcend the screen, reminding the viewer of the physical, emotional, intellectual, and at times embarrassing joy of encountering art in real life.
The paintings are available to view at Peter Freeman, Inc., 140 Grand Street, New York 10013  for the duration of Art Basel Miami Beach’s Online Viewing Room.  Also, concurrently on long-term view at Dia:Beacon is Bochner’s latest Measurement room, installed on the 50th anniversary of his first Measurement room at Heiner Friedrich’s gallery in Munich. At the neighboring Maggazino Italian Art in Cold Spring, New York, through 11 January 2021, is an installation of Bochner’s works alongside those of Italian artists Alighiero Boetti and Lucio  Fontana, which examines parallel artistic movements in the 1960s and 1970s in the U.S. and Italy.
Mel Bochner was born in Pittsburgh in 1940. He studied painting and philosophy, earned his BFA from the Carnegie Institute of Technology in 1962, and moved to New York City in 1964, where he continues to live and work. Upon moving to New York, Bochner was hired to write monthly reviews for Arts Magazine. His very first exhibition, in 1966 at the School of Visual Arts, Working Drawings and Other Visible Things on Paper Not Necessarily Meant to be Viewed as Art, is often cited as the first exhibition of conceptual art. In 1976, ten years after his SVA debut, Peter Freeman invited him to make the cover for the Harvard University campus literary magazine. Thirty years later, in 2006, Bochner joined Peter Freeman, Inc. and has mounted eight solo exhibitions at the gallery since then. Bochner has long explored the limits of language, reproduction, and repetition. Speaking to The Brooklyn Rail’s Phong Bui, at the time of his first PFI exhibition, Bochner commented on how people ‘read’ his text paintings and gave the following insight into his larger relationship with language: “a work of art lives by being continuously misinterpreted.” Mel Bochner’s work is included in many public collections around the world, including Art Institute of Chicago, Chicago; Tate, London; Museum of Modern Art, New York; Whitney Museum of American Art, New York, and Centre Pompidou, Paris.

Sperone Westwater at Art Basel Miami Beach by Sperone Westwater


Tom Sachs
Tibet, 2008
USD 200,001 – USD 300,000

Sperone Westwater is pleased to present a selection of signature artworks by gallery artists for Art Basel Miami Beach’s Online Viewing Rooms. Representative of the gallery’s 45-year program, our presentation features Guillermo Kuitca, Richard Long, Emi Lukas, Malcolm Morley, Bruce Nauman, Otto Piene, Alexis Rockman, and William Wegman, as well as recent additions to the program including John Giorno, David Lynch, Katy Moran, and Peter Sacks.


OVR: Miami Beach by Galerie Eva Presenhuber

Doug Aitken 3 Modern Figures (don’t forget to breathe), 2018 Installation USD 500,001 – USD 750,000

Galerie Eva Presenhuber is delighted to participated in OVR: Miami Beach, in which we are presenting new and significant painting, sculpture, installation, and photography by Doug Aitken, Martin Boyce, Joe Bradley, Wyatt Kahn, Karen Kilimnik, Torbjørn Rødland, and Ugo Rondinone.


Planets of Hope: Utopias for a Better Future by neugerriemschneider

Paweł Althamer Ufo, 2004 Mixed Media USD 200,001 – USD 300,000


“A map of the world that does not include Utopia is not worth even glancing at, for it leaves out the one country at which Humanity is always landing. And when Humanity lands there, it looks out, and, seeing a better country, sets sail. Progress is the realization of Utopias.” – Oscar Wilde (1854–1900)

On the occasion of OVR: Miami Beach, neugerriemschneider presents a selection of works that underlines our quest for a better tomorrow. Energizing us as we strive forward, the selected works compel us to look both near and far in our search for utopia, be it in our terrestrial surroundings or worlds beyond. As part of this journey, we showcase sculpture, video, textile and painted works by Pawel Althamer, James Benning, Billy Childish, Olafur Eliasson, Noa Eshkol, Jorge Pardo, Thaddeus Strode, Mario García Torres and Pae White.


Underground of Diversity by Nanzuka


Hajime Sorayama Sexy robot Infinity _1/3 scale, 2020 USD 60,000

NANZUKA will present the special exhibition “Underground of Diversity” at Art Basel OVR: Miami Beach 2020, which interactively mixes together various nonconformist contexts such as sex, punk, science fiction, psychedelic, street culture, and manga. This exhibition is an ambitious endeavor that focuses on the creativity of artists who engage in producing work in ways that transcend issues of race, region, high/low culture, and social taboos.Introduced in the exhibition is an eclectic selection of artists. Legendary Japanese artist Keiichi Tanaami continues to express his childhood memories of WWII through a pop and psychedelic vision, Hajime Sorayama is famous for his Sexy Robot series that combines themes of sanctity and sex with science fiction, and Harumi Yamaguchi established herself as a representative artist of Japan’s women’s liberation movement in the 70’s with her pin-up style works that captured sex through the eyes of women and centered on the depiction of assertive female figures. Also featured are the works of Javier Calleja, who employs European Surrealist methodologies while drawing inspiration from Japanese manga to depict portraits characterized by their enormous eyes; Haroshi, who makes sculptural works using skateboards with his self-acquired woodworking skills; Hiroki Tsukuda from the field of graphic design; Oliver Payne, a British artist who has produced numerous conceptual works under the theme of punk as a virtual enemy against the vested interests that control contemporary society; Jonathan Chaplin, an American artist actively employing digital technology; Jean Jullien, a French artist inspired by Japanese comics, Bandes dessinées, French posters, and children’s book’s illustrations; Christian Rex van Minnen, an American artist combining his masterful centuries-old techniques with reference inputs from corners of contemporary culture including new age mysticism, porn, tattoos, internet memes, surf culture, and social media comment feeds.

Through presenting the works of artists from various backgrounds spanning from illustration to design, manga, and street art in a parallel manner, the exhibition attempts to systematically convey the diversity of art that is currently in progress.

The presence of these artists have been regarded as “marginal” or being “outside” of the academic discourse of art history. However, in the sense that they paradoxically have the potential to broaden the framework of art, their creative practices could indeed be considered as a significant force in affirming the very existence of contemporary art that continues to expand and develop.


    • share via