Art Basel

The DNA of Art Basel goes back to its origin in 1970 , when it was founded by a group of gallerists from the small Swiss city, which had a long-standing history as a cultural capital within Central Europe. The original idea come from a woman, Trudl Bruckner, and she was greatly supported by the legendary dealer Ernst Beyeler, one of the leading and most international figures in the art market of the time. Although they quickly, and wisely, handed over management of the fair to the city, premier gallerists remain a driving force at Art Basel, not only in the selection of exhibitors but also in terms of giving invaluable input across a broad range of issues related to the entire enterprise. In short, the DNA involves Swiss precision and rigor, a focus on galleries and their artists, and a fervent belief in thinking globally.

The selection committees choose premier primary- and secondary-market galleries, across a wide range of geographies and market sectors. They range from new projects that are only a few years old working with nomadic spaces to the most established galleries on earth, boasting multiple venues across many continents. That diversity of galleries is essential to keep the shows both fresh and strong.

The price range of the artworks is enormous, ranging from smaller works by younger artists and editioned pieces, costing a few thousand dollars, to the most expensive secondary- market masterpieces, sometimes priced at (far) more than 10 million dollars.

Art Basel shows have a broad range of attendees, ranging from the most important international collectors of modern and contemporary art to more regional collectors, but also including art aficionados, people with a broader interest in culture, and even thousands of students visiting the show, and thus building the passion for art at an early age.

Art Basel strongly believes that the future of fairs will be hybrid. Physical interactions with great galleries and artworks remain totally essential to creating the energy of the fair. In parallel, new digital tools and tactics – often developed under duress during the pandemic – allow patrons from all over the world to discover artists and galleries at the shows and throughout the year.

I think it’s important to support and discover galleries and artists in the early stage of their career, so it’s essential to visit fairs such as Liste, Paris Internationale and the New Art Dealers Association (NADA) shows, such as NADA Miami.