Between Cities, Between Fairs: My Paris Art Week Experience

Jeune File aux macarons by Amedeo #modigliani @pacegallery

Finally, I attended Art Basel Paris and Paris Art Week this year.

Art Basel Paris felt very different from its Miami Beach and Basel versions. I met a Chinese private art dealer at the Miami Beach edition last year, who praised the Paris fair for its location, which inspired me to visit this year.  The venue itself was stunning, full of history and prestige, but as someone with a background in interior design, I found the layout and presentation a bit overwhelming at first. The space was more limited than I expected, so it was hard to see individual art pieces, and navigating the show was intense on the first day.  The next morning, however, visiting during the opening hours, the experience felt a little calmer and more enjoyable.

In many ways, Art Basel Paris sits between Miami and Basel. Miami offers vast spaces and dramatic, large-scale contemporary works, while Basel showcases extraordinary museum-level masterpieces. Paris, on the other hand, bridges the two, offering works that are more accessible in size and value, which may actually be ideal for collectors. The fair’s location also makes it perfect for international visitors who want both serious art and the cultural richness that Paris naturally provides.

During Paris Art Week, the city’s museums offered exceptional exhibitions.

Gerhard #Richter Exhibition

It was a rainy and windy day when I visited the Fondation Louis Vuitton for the Gerhard Richter exhibition. Many art professionals were already lined up before the opening, and soon I realized that almost everyone around me had made a reservation.

Just as I began to wonder if I would be able to enter, an art dealer from Geneva standing next to me offered her extra ticket—originally reserved for her sister, who couldn’t make it. I couldn’t believe my luck.  We tried to enter together, but with the strong wind and her heavy bag, we lost each other in the crowd. Still, I was deeply grateful for her kindness. I hope one day I can find her again and take her out for a drink to thank her properly.

The exhibition itself was stunning—beautifully curated to trace Richter’s artistic journey and the evolution of his vision.

Cartier Foundation for Contemporary Art

With my Art Basel VIP pass, I also had the privilege of visiting the new Cartier Foundation for Contemporary Art before its public opening — a stunning space featuring works. They have an outstanding collection of contemporary art, ranging from renowned masters such as Joan Mitchell and Damien Hirst to newly celebrated voices like Sarah Sze, whose installation work transforms the space with light and movement.  

The George Condo exhibition at the Musée d'Art Moderne de Paris was the largest of his solo presentations I’ve seen, and seeing Louise Bourgeois’s Spider placed in front of Raoul Dufy’s La Fee Électricité, a monumental mural, created a surprising sense of electricity in the room. 

Mono-ha exhibition

Louise Bourgeois’s Spider with Dufy’s La Fee Électricite

At the Bourse de Commerce – #minimal exhibition by Pinault Collection, I discovered more about Japanese Mono-ha, which was fascinating, especially within such a beautiful architectural setting.  The image is left and above right.

Design Miami Paris was another highlight — held at the magnificent Hôtel de Maisons. I especially loved the Barcelona-based Side Gallery, which presented exceptional Japanese postmodern furniture from the 1960s–1980s. Growing up in Korea and visiting Japan in the late 1980s, I found the aesthetics both new and nostalgic.

Last exhibition visit was the Palais de Tokyo to check the concept ECHO DELAY REVERB: American Art, Francophone Thought, since the concept was nice, but to me it felt too random—it was hard to grasp the overall idea or visual direction. It struck me as very French in style, where the concept seems to matter more than the presentation itself, but the Melvin Edwards show was nice.  The image is below right. 

Visiting Paris in the fall was another special experience. I had only visited during the summer before, but this trip felt different — more local, more connected. Although it was a work-focused trip, meeting industry people and exploring exhibitions, I traveled mostly by public transportation to feel the rhythm of the city. Having lived in New York City for over twenty years, I’ve learned that the best way to know a city is to live like its locals.

Through the metro, I found hidden spots — a small gothic-style old architecture beer pub and a wonderful bakery near the new Cartier Foundation for Contemporary Art location. I also enjoyed the beautiful Eiffel Tower view from the Palais de Tokyo.

I even visited Saint-Ouen vintage market (thanks to a Parisian friend’s recommendation). I went early at 8 a.m., but my friend didn't mention that fall hours start later, so most shops were still closed!  Chatting briefly with the owner of "French Connection", a record shop selling 1980s LPs, gave me a burst of energy for the day. I promised myself to return next time and explore it properly.

This trip gave me a completely different side of Paris — less as a tourist and more as someone living the city’s rhythm. Next time, I hope to enjoy both the art world’s elegance and the everyday Parisian life that makes this city so unforgettable.

The view from Palais de Tokyo

*More images, please check my Instagram account: www.instagram.com/curatedbyyounghye/

New York Art Fair Season 2025: My Highlights and Thoughts

"Femme au vase de Houx" at Picasso's "Tete a tete" exhibition at Gagosian Upper East location, NY

        Every May, New York City transforms into a hub for the art world, with major art fairs, gallery exhibitions, and important contemporary and modern art auctions taking place. This year, I attended most of them and would like to share my impressions.

TEFAF New York: Sophistication and High Stakes

  Basquiat & Eric Fischl Painting at Tefaf 

    TEFAF New York was established in 2016, initially hosting both Fall and Spring editions at the Park Avenue Armory. Since COVID, it has consolidated into one annual fair held each May. I used to attend on VIP opening day, but it’s become incredibly crowded, so I visited the day after this year.

In its early years, TEFAF was a spectacle—galleries invested heavily in creating stunning, unique presentations. While the show remains highly sophisticated and continues to attract world-class galleries and artists, it now feels more like a venue for high-end collectors. Prices reflect that status—one of Eric Fischl’s works was priced at more than $250K, while a large Basquiat was listed for over $12 million. You’ll find pieces from modern masters like Picasso to contemporary names like Fischl. TEFAF is ideal for seasoned collectors and institutions looking for museum-quality art.

Frieze New York: Still Bold, But Different

    Frieze New York has undergone significant changes since its early days on Randall’s Island, where it launched in 2012. The fair was once known for its well-designed, spacious layout and excellent curation. Since relocating to The Shed post-COVID, it’s smaller and more condensed, but still includes top-tier galleries.

By 2017, some presentations began leaning more toward trendy or decorative works rather than thoughtful curation. However, in 2019, the dramatic use of space stood out and made for a memorable experience. This year, standout pieces included a Jeff Koons work (left image) priced at $350K and a piece by Rashid Johnson, timely, as he’s currently showing at the Guggenheim. Frieze is a strong fair for those looking to acquire new or recent works by major artists, particularly for foundations, institutions, and investment collectors. Generally,  prices are lower than TEFAF, but still significant.

Independent Art Fair: Hidden Gems and Emerging Voices

    Independent hosted some compelling gallery booths this year. It felt like the right place to purchase art for more personal or residential spaces, like a living room or large foyer. The artists here are typically emerging and not yet trendy, but you can still find impressive large-scale paintings priced under $ 20 K. It’s a fair for collectors who trust their own taste and enjoy discovering talent before the mainstream does.

NADA New York: Quiet This Year

    NADA is usually a good platform to discover up-and-coming artists, but this year’s edition was less impressive. I didn’t find any standout new artists or works.

Spring/Break Art Show: Experimental and Unexpected

Wagah-Attari border and its daily beating Retreat Ceremony by Aiza Ahmed

    

After attending countless art fairs over the past decade across three continents, I’ve realized that nothing quite compares to the Spring/Break Artshow. It feels distinctly American—funky, bold, original, and delightfully imperfect. It may not be the most polished or tightly organized event, but that’s precisely what gives it character and makes it stand out.

This year’s edition in NYC was smaller than previous ones, yet it still offered the chance to connect with a diverse array of artists from various cultural backgrounds—a consistent highlight for me. I was especially impressed by Aiza Ahmed’s installation, which recreated the Wagah-Attari border and its daily Beating Retreat Ceremony through evocative drawings, music, and sculptures.

Despite its scale, I was surprised by how vibrant and energetic the show remained. Spring/Break continues to provide a refreshing and unconventional experience, unlike any other fair. While the venue can be challenging, it’s inspiring to see how artists and curators embrace and transform the space. Some of the conceptual depth on display reminded me of Art Basel, though less polished, the ideas here often feel more daring. For its creativity and willingness to experiment, Spring/Break is still an essential stop on the art fair circuit.

Major Auction Houses: Christie’s, Sotheby’s, Phillips: A Market in Flux

    Each of the big three auction houses held major sales of modern and contemporary art this May. While these auctions aren’t as large as their November counterparts, they are still among the most significant of the year in New York. However, the market felt soft this time—estimates were noticeably lower, and some major works, like a Giacometti portrait sculpture, failed to sell. It wasn’t a powerful auction cycle.

Major Gallery Exhibitions

Several blue-chip galleries also mounted major shows:

• Gagosian (Upper East Side): Tête-à-Tête by Picasso - a stunning show since it was in collaboration with Paloma Picasso.  A great opportunity to explore some lesser-known styles of Picasso's work that are not usually familiar to us.   

• Gagosian (Chelsea, 21st St): Japonisme: Cognitive Revolution—Learning from Hiroshige by Takashi Murakami - an interesting exploration of influence and style.

• Gagosian (Chelsea, 24th St): Endless Painting by Willem de Kooning - a powerful retrospective that really shone in person.

• Skarstedt (Chelsea): Oxidation Paintings (1977–1978) by Andy Warhol - these works were particularly striking due to the material changes over time, making them fascinating to experience in person.

• Pace Gallery: The American Dream by Robert Indiana - a fresh look at the iconic artist beyond the familiar “LOVE” motif. The show captured Indiana’s sharp formalism and political edge with strong selections that reminded me how relevant and underappreciated some of his lesser-known works are.

*More images, please check my Instagram account: https://www.instagram.com/curatedbyyounghye/

Union Grands Crus De Bordeaux 2025 in Cipriani NY 42nd Street

    Most people know Bordeaux, France, for its amazing wines, but beyond that, many don’t realize just how diverse and prestigious the region really is. I had the incredible opportunity to attend the **Union des Grands Crus de Bordeaux 2025** tasting event at **Cipriani 42nd Street** in New York City, and it was truly unforgettable.

The **UGCB** (Union des Grands Crus de Bordeaux) is an association that has represented some of the top wine producers in Bordeaux since 1973. For years, they’ve hosted their iconic wine tasting event in NYC, held at the stunning and historic **Cipriani on 42nd Street**.

This year’s event showcased wines from across Bordeaux’s most famous appellations: **Margaux, Pauillac, Saint-Estèphe, Saint-Émilion, Pomerol, Sauternes & Barsac, Haut-Médoc & Médoc, Listrac & Moulis,** and **Graves & Pessac-Léognan**.

It was such a special experience to taste so many incredible wines in one place. Personally, I was especially drawn to the wines from **Pauillac, Saint-Estèphe, and Pomerol**—each offered rich, full-bodied reds that were beautifully balanced and deeply expressive. 

Pauillac: Chateau d'Armailhac, Chateau Lynch-Moussa, and Château Lynch-Bages, which is a Fifth Growth estate renowned for its robust and age-worthy wines.

Saint-Estephe: Château Cos Labory & Chateau Ormes De Pez 

Pomerol: Chateau Beauregard & Chateau Client, 

Pessac-Léognan: Chateau Haut-Batailley, A Cru Classé de Graves estate esteemed for its deep, nuanced reds.

Saint-Émilion: Clos Fourtet – A Premier Grand Cru Classé estate known for its rich and opulent Merlot-based wines.​