Art Fair
December 1–3, 2022, booth D5
Miami Beach Convention Center
artbasel.com
Gagosian is pleased to present a selection of modern and contemporary works at Art Basel Miami Beach 2022. Returning to Miami for the fair’s twentieth anniversary, the gallery is honored to have participated each year the fair has been held.
Featured artists include Harold Ancart, Richard Avedon, John Baldessari, Georg Baselitz, Ashley Bickerton, Louise Bourgeois, Alexander Calder, John Chamberlain, Dan Colen, John Currin, Edmund de Waal, Roe Ethridge, Urs Fischer, Walton Ford, Helen Frankenthaler, Theaster Gates, Katharina Grosse, Mark Grotjahn, Andreas Gursky, Wade Guyton, Simon Hantaï, Damien Hirst, David Hockney, Thomas Houseago, Alex Israel, Jia Aili, Donald Judd, Titus Kaphar, Jeff Koons, Roy Lichtenstein, Rick Lowe, Brice Marden, Helen Marden, Peter Marino, Adam McEwen, Takashi Murakami, Albert Oehlen, Elizabeth Peyton, Pablo Picasso, Rudolf Polanszky, Jackson Pollock, Richard Prince, Gerhard Richter, Sterling Ruby, Ed Ruscha, Richard Serra, Jim Shaw, Alexandria Smith, Rudolf Stingel, Spencer Sweeney, Sarah Sze, Robert Therrien, Wayne Thiebaud, Tatiana Trouvé, Cy Twombly, Andy Warhol, Tom Wesselmann, Franz West, Anna Weyant, Rachel Whiteread, Stanley Whitney, Jordan Wolfson, and Jonas Wood.
Gagosian’s booth at Art Basel Miami Beach 2022. Artwork, left to right: © Gerhard Richter; © Amoako Boafo; © Richard Prince; © 2022 Judd Foundation/Artists Rights Society (ARS), New York; © Richard Diebenkorn Foundation; © The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York; © Stanley Whitney. Photo: Sebastiano Pellion di Persano
Ahead of Alex Israel’s exhibition of four new Fin sculptures at Gagosian, London, the artist spoke with Susan Casey, author of The Wave: In Pursuit of the Rogues, Freaks, and Giants of the Ocean (2010), about the ocean, surfing, and Los Angeles.
On July 9, Simon Hantaï: the last studio opens at Gagosian, Gstaad. Curated by Anne Baldassari, the show comprises sixteen of the artist’s dernier atelier (last studio) paintings of 1982–85. The exhibition is accompanied by an illustrated catalogue, copublished by Gagosian and Skira, which features an essay by Baldassari and an extensive portfolio of previously unpublished photographs by Édouard Boubat. Here, we share the introductory chapter from the publication.
On the occasion of Baselitz: AVANTI! at the Museo Novecento in Florence, Italy, Holly EJ Black considers the roots and reverberations of Georg Baselitz’s printmaking.
Ed Ruscha sits down with the author and explorer Erling Kagge to discuss existence.
From the perspectives of their respective fields, three international cultural figures—artist and designer Ronan Bouroullec, fashion visionary Michèle Lamy, and chef and restaurateur Enrique Olvera—reflect on Donald Judd’s work in furniture, the subject of recent exhibitions in South Korea and Japan.
Helter Skelter—an exhibition at Fondazione Prada’s Venetian venue, Ca’ Corner della Regina—marks the first creative dialogue between two visionaries of American art, Arthur Jafa and Richard Prince. The show explores the grit, grift, violence, and ingenuity of American culture through more than fifty works, including photography, video, and large-scale installations that interrogate themes of race, gender, media, and politics. In the interview below, Nancy Spector, the exhibition’s curator, speaks about the shared motifs—from apocalyptic sunsets to a fascination with “monstrosity”—that led her to pair these artists for the first time.
A conversation between Theaster Gates and Jessica Bell Brown, with an introduction by Sydney Stutterheim.
On the occasion of his exhibition The Fire This Time at Gagosian, Paris, Titus Kaphar discusses themes of history, representation, and collective memory in his recent paintings and hand-carved wood sculptures.
Avis Berman’s biography of Roy Lichtenstein, Becoming Roy Lichtenstein: The Path to Pop, will be published this fall by Abbeville Press, aligning with a major retrospective at the Whitney Museum of American Art, New York, in October. For the Quarterly she has adapted part of her text to focus on the artist’s formative experiences in New York in the 1920s and ’30s.
Following a recent visit to Jonas Wood’s Los Angeles studio, Justin Beal thinks through the artist’s paintings of tennis courts—the subject of an exhibition at Gagosian, Beverly Hills—examining their relation to the game, color theory, and the rewards of practice.
Stella McCartney’s new limited-edition capsule collection made in collaboration with Jeff Koons launched in January 2026. Blending the two creators’ singular visions, the collection, which was first seen in McCartney’s Winter 2025 runway show, features a wide array of garments and accessories printed with artworks by Koons and slogans by McCartney. The collaboration continues the pair’s long-standing creative partnership, which has previously included jewelry, prints, and charitable initiatives. At the unveiling in New York, Koons met with Derek C. Blasberg to reflect on the collaboration, the importance of caring and community, and meeting Salvador Dalí when he was nineteen years old.
Jason Stanley, author of Erasing History: How Fascists Rewrite the Past to Control the Future (2024), considers Titus Kaphar’s new paintings, examining their potent refusals of jingoistic myth-building and their strident remembering of American history.
