Work: Lois Dodd, Night Window – Red Curtain, 1972 
Presenting gallery: Alexandre Gallery

An important member of the postwar New York art scene, Lois Dodd spent the early 1970s refining her clear-eyed, observational painting style. Dividing her time between New York’s Lower East Side and Midcoast Maine, she painted what was in front of her – rooftops, trees, and windows, with the hint of soft drapery reflected in the glass.

Work: Olafur Eliasson, Successful coexistence beyond earth, 2025
Presenting gallery: Tanya Bonakdar Gallery

Olafur Eliasson is interested in how the simple use of light and glass can shape the way we see. Successful coexistence beyond earth (2025) arranges painted glass spheres into two concentric rings, mounted on the wall to resemble a mandala. As viewers approach, its colors and reflections shift with every step.

Work: Joana Vasconcelos, Catuaba, 2014
Presenting gallery: Casa Triangulo

Joana Vasconcelos often incorporates craft materials and techniques like ceramic tiles and crochet into her large-scale, handmade installations. To create the large-scale wall sculpture Catuaba (2014), Vasconcelos combined ornaments and crocheted wool, as well as tiles from Viúva Lamego, a historic ceramic factory in Portugal.

Work: Theaster Gates, Calvino’s Castle, 2025 
Presenting gallery: Gray

Theaster Gates’s stoneware sculpture is a homage to the Italian novelist Italo Calvino and the surrealist René Magritte, who painted the original cover for Calvino’s Invisible Cities (1972), a fantastical tale of fiction about a series of imagined worlds. ‘For me,’ Gates says, ‘Calvino opens up a world not only of what the city can be, but how cities exist not just in bricks and mortar, but in our imagination.’

Work: Lauren Halsey, Untitled, 2025
Presenting gallery: David Kordansky Gallery

Lauren Halsey’s installations and maximalist collages draw on the vernacular of South Central Los Angeles – the neighborhood where she grew up and still works today. In this monumental gypsum relief, barbershop signs, portraits, and palm trees are combined with Afrofuturist drawings and fashion logos to create a layered portrait of her community.

Work: Cecilia Vicuña, La Habana, 1978/2024
Presenting gallery: Lehmann Maupin

Cecilia Vicuña, who this year was named an Icon Artist at the Art Basel Awards, is looking back at the past. In her ‘Lost Paintings’ series, Vicuña revisits works she made as a young artist that were lost or destroyed following Augusto Pinochetʼs military coup in Chile, the country of her birth. La Habana (1978/2024) recreates a composition first painted in the late 1970s.

Work: David Hockney, The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) – 29 December, No. 1, 2011. 
Presenting gallery: Galerie Lelong

In early 2011, with his iPad in hand, David Hockney headed out to a wooded lane in East Yorkshire to draw the shifting seasons. The immediacy of drawing with a tablet allowed him to render fast-changing light in vivid, rhythmic strokes – without needing to mix oil paints in the cold. Over several months, he created more than 100 plein-air iPad drawings; this rare large-scale work is one of few printed across four sheets of mounted paper.

Work: Sam Gilliam, Heroines, Beyoncé, Serena, and Althea, 2020
The presenting gallery: Pace Gallery

From his early draped paintings to the textured stretched canvases of recent years, Sam Gilliam has spent decades experimenting with surface, structure, and color. Layered with several generous applications of acrylic paint, Heroines, Beyoncé, Serena, and Althea (2020) is Gilliam’s abstract tribute to three inspiring Black women.

Work: Martin Wong, Tai Ping Tien Kuo (Tai Ping Kuo), 1982
Presenting gallery: PPOW

On view for the first time in 40 years, this multi-panel painting is one of the first works from the ‘Chinatown’ series that Martin Wong made after moving to New York in 1978. Its composition resembles a Renaissance altarpiece: At its center is a tender portrait of the artist’s mother and stepfather, flanked by pagodas, Chinese opera figures, and neon signs.

Work: Betye Saar, Seeking the Promise, 2025
Presenting gallery: Roberts Projects

Betye Saar – who celebrates 100th birthday next year and was named a medalist at this year’s inaugural Art Basel Awards – was a key member of the 1970s Black Arts Movement, and a pioneer of assemblage art. For more than 60 years, she’s transformed found objects into shrines that explore race, ancestral memory, and spiritual symbolism. Built inside an old upright boat, Seeking the Promise (2025) contains antlers, carved shapes, and a clock.

Work: Bruce Nauman, Double Poke in the Eye II, 1985
Presenting gallery: Sperone Westwater

An eye for an eye becomes a recurring gag in Double Poke in the Eye II (1985), where in an endless loop two neon figures jab at each otherʼs eyeballs. The animated flicker is a reference to the commercial signage that Bruce Nauman observed from his first San Francisco studio – a sight that would inspire a whole raft of neon works by the artist.

Work: Jeff Koons, Balloon Venus Lespugue (Red), 2013-2019
Presenting gallery: David Zwirner

Even an art history icon isn’t immune to inflation. Here, Jeff Koons reinterprets the six-inch, Paleolithic Venus of Lespugue sculpture as a towering, balloon-like figure. Standing nearly nine feet tall and made from brilliant red, mirror-polished steel, the shining curves of Koons’s Venus reflect viewers while bathing them in a crimson glow.