Jadé Fadojutimi
Could our gaze become corrupt, the moment our heart begins to erupt?, 2026
Oil, acrylic, and oil pastel, in 2 parts, overall: 98 ½ × 137 ⅞ inches (250 × 350 cm)
© Jadé Fadojutimi. Photo: Kenji Takahashi
Selections is a presentation at Gagosian’s gallery at Rheinsprung 1, a short walk from Messe Basel. It extends Gagosian’s participation in Art Basel 2026, which comprises a multi-artist booth at the fair as well as historical works by Chris Burden and Ed Ruscha in the Unlimited sector. Across these sites, Gagosian offers a grouping of outstanding works by twentieth- and twenty-first-century greats, reflecting the gallery’s consistent championing of innovative and influential creative practice through institutional-quality exhibitions and projects.
Among the important paintings on view are several by Helen Frankenthaler. A member of the second generation of postwar American abstract painters, Frankenthaler played a pivotal role in the transition from Abstract Expressionism to Color Field painting. The expansively scaled Jockey (1978) embodies the artist’s lyrical, exploratory approach to abstraction, also reflecting the shift from oil to acrylic that she made in the early 1960s—a change that saw her employ large, flat areas of pigment. Produced in 1984, Willem de Kooning’s No title incorporates the focused palette and pale ground that characterize the artist’s “late style” paintings. Undulating bands of color create a surface that seems to turn in space, hinting at an elusive figuration while remaining fundamentally abstract. Embodying a more reductive approach than de Kooning’s earlier work, No title nonetheless retains the exuberant visual energy that runs throughout his oeuvre.
Several paintings on view in Basel make reference to the natural world; among these is Jadé Fadojutimi’s large-scale canvas Untitled (2026). A characteristically joyful expression of the artist’s fluid approach to everyday experience and the quest for self-knowledge, it communicates her drive to understand more fully the intertwined notions of beauty and identity. Orchestrating a beguiling range of colors, shapes, and lines, Fadojutimi conjures a sense of continual transformation in a layered compositional “environment” that suggests a field or garden of flowers while edging toward gestural abstraction. Jonas Wood’s oil and acrylic still life Fruit on Wood (2026) depicts a tabletop scattered with bananas, grapes, oranges, pineapples, watermelons, and other fruits, some arranged in bowls, others placed directly on the familiarly grained surface. The composition is typical of Wood’s bold, graphic approach to painting, drawing, and printmaking, which combines art historical references with images of the objects, interiors, and individuals that populate his everyday life.
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The Summer 2026 issue of Gagosian Quarterly is now available, featuring Ellen Gallagher’s Fast-Fish and Loose-Fish (2026) on the cover.
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