The Grand Palais, with its sweeping glass nave and historic grandeur, has long served as a backdrop for some of the world’s most prestigious art events. However, the recent edition of Art Paris offered a distinct departure from the high-octane, often impersonal atmosphere of global mega-fairs. Rather than the “fizzy buzz” of international speculation, this iteration of the fair brought a more intimate, grounded energy to the venue, prioritizing a curated focus on the French and European art scenes.
The 28th edition of Art Paris featured 160 galleries representing approximately 20 countries, with a notable 30 percent of participants making their debut at the fair. While the event maintains its status as a critical hub for the Parisian art market, it has carved out a specific niche by remaining accessible. In an era where the arrival of Art Basel Paris has shifted the city’s market toward a more international, high-prestige model, Art Paris serves as a vital counterpoint—a place where local collectors and curious visitors can engage with works at more diverse price points.
This shift in energy was evident from the moment visitors arrived. Outside the Grand Palais, the atmosphere was lightened by the work of French artist Fabrice Hyber, whose colossal, inflatable silhouettes provided a touch of frivolity and a welcome opportunity for photo ops. Inside, the vibe was described as a “soothing burble,” with a crowd that favored understated attire over the ostentatious fashion often seen at blue-chip international events.
A Strategic Commitment to Localism
For many of the participating galleries, Art Paris is not merely a commercial opportunity but a strategic commitment to the local ecosystem. Almine Rech, a mainstay of the fair, continues to use the platform to promote artists based in Paris. Senior director Thibault Geffrin emphasized that the fair allows the gallery to maintain a close relationship with its local collectors in a way that the larger, more frenetic Art Basel cannot. By capping some of their presentation prices at €100,000, the gallery intentionally aligns its offering with the local and European demographic.
The diversity of the work on display reflects this grounded approach. At the Almine Rech booth, visitors encountered a textile piece by French-Malagasy artist Joël Andrianomearisoa, a nominee for the Prix Marcel Duchamp, as well as portraiture by Inès Longevial. The commercial activity remained steady, with Oliver Beer’s 2026 framed pigment on canvas, Résonance Painting (Swim Until You Can’t See Land), selling for between £75,000 and £80,000, while a sculpture by Andrianomearisoa moved for between €20,000 and €30,000.
Accessibility and the Evolving Parisian Market
The tension between the “prestigious” global market and the “accessible” local market is a recurring theme among gallery directors. Garrett Landolt, director at Esther Schipper, noted that the Parisian market has undergone a significant transformation. While it was once a closed loop of Parisians buying from Parisian galleries, the influence of Art Basel has internationalized the city. However, this has inadvertently made Art Paris more attractive to those seeking a less hurried experience.
At the Esther Schipper booth, the focus was on curiosity and conversation. The work of Etienne Chambaud, priced between €10,000 and €30,000, drew significant attention. Chambaud’s process involves taking religious icons bought at auction and using a restorer to stabilize them before covering all non-animal elements—including the saints—in gold leaf. This technique effectively isolates the animals, foregrounding them in a way that challenges traditional iconography.
The booth similarly showcased the work of Canadian-born, New York-based artist Sojourner Truth Parsons, whose canvases utilize phosphorescent paints to create layered, luminous effects. With most works on the booth priced below €50,000, the gallery maintained a balance between international reach and the specific accessibility of the Art Paris environment.
Spotlighting Art Brut and Political Engagement
Art Paris also provides a platform for galleries that might find the rigid structures of blue-chip fairs restrictive. Galerie Pol Lemétais, making its debut at the fair, presented a monographic exhibition of remixed tapestries by Aurélia Jaubert. Based in Toulouse, the gallery specializes in art brut—art created by those outside the professional art world, often characterized by a raw, instinctive quality. Jaubert’s work, which utilizes found materials from charity shops and garage sales to create complex textile collages, was priced between €13,000 and €25,000.
Similarly, the Beirut-based Saleh Barakat Gallery returned to the fair to emphasize a more “franco-français” spirit. Gallerist Saleh Barakat described his artists as engagé (politically committed), arguing that the atmosphere of Art Paris is more aligned with this spirit than the conceptual, globalized nature of larger fairs. The gallery’s offerings ranged from modest ceramics by Hala Matta starting at €800 to vivid canvases by Nabil Nahas, capping around €10,000, reflecting a philosophy of inclusivity over pretension.
The ‘Promises’ Sector: Nurturing New Talent
On the upper balcony of the Grand Palais, the “Promises” sector serves as a dedicated space for galleries established for less than a decade. Curated by Marc Donnadieu, this section is notably more international than the main floor, featuring galleries from Singapore, Morocco, and Australia.
Galerie Prima, which has been operating for approximately 18 months, used the sector to showcase painters Bryce Delplanque and Gaspard Girard d’Albissin. Delplanque’s still lifes, priced between €6,000 and €9,000, included a series paying homage to the personal belongings of author Joan Didion. Meanwhile, d’Albissin’s figurative works, inspired by fashion editorials and online imagery, ranged from €3,500 to €10,000. The success of these emerging galleries—some of whom pre-sold works before the fair opened—underscores the role of Art Paris as an incubator for the next generation of gallerists.
A Diverse Spectrum of Taste
Despite its grounded energy, Art Paris does not shy away from the “blockbuster” appeal. The fair managed to balance local intimacy with a few high-profile inclusions. Works by Nan Goldin were presented at Yvon Lambert, and a 2009 rhinestoned piece by Mickalene Thomas was on view at Opera Gallery. More eccentric installations, such as Joana Vasconcelos’ oversized raw iron teapot at Gowen Contemporary and a provocative oil portrait of Elon Musk by Stéphane Pencréac’h at Galerie Idéale, ensured that the fair catered to a wide array of aesthetic and intellectual tastes.
the success of Art Paris lies in its refusal to compete directly with the scale of Art Basel. By embracing its role as a springtime counterpart to the autumn rendezvous, it provides a necessary space for the French art scene to breathe, for emerging galleries to find their footing, and for collectors to engage with art in a manner that feels human and grounded.
As the Grand Palais continues its cycle of exhibitions and fairs, the industry will be watching how the “Promises” sector galleries transition into the mainstream market. The next major checkpoint for the Parisian art calendar will be the autumn season, where the city’s focus shifts back toward the globalized scale of Art Basel Paris.
We invite our readers to share their thoughts on the evolving nature of the Parisian art market in the comments below. Which emerging artists from this year’s fair caught your eye?