Paris+ par Art Basel returns to the city following last year’s inaugural edition, highlighting the French capital’s rise to prominence in Europe’s contemporary-art scene as London teeters.

October 20-22,



A man in a dark suit stands gently smiling by a green metal railing
Vincenzo de Bellis, Art Basel’s director of fairs © Noé Cotter

Vincenzo de Bellis, Art Basel’s director of fairs and exhibition platforms, is presiding over the second edition of Paris+ and says his job is “to remember that artists are the core of what we do and letting them lead is always beneficial to everyone”. One of his highlights this year is the public programme of free-to-see events outside of the fair’s walls. “In Paris, we really insert ourselves into the institutional fabric,” he says, such as the outdoor sculptures that extend through the Jardin des Tuileries during the fair. Read our full interview with Vincenzo de Bellis here

Haut art

Blurry oil painting of a woman taking a photo of the viewer
‘About-face’ (2023) by Orion Martin at High Art © Courtesy the artist/High Art

Showing at Paris+ this year is French gallery High Art, founded by three friends in 2013 and now resident in the Pigalle building where Georges Bizet wrote his 1875 opera Carmen. Founder Romain Chenais believes the “Parisian art scene has become much more effervescent,” with more private collectors and foundations, whch changes the way people look at young artists and galleries.” Read more on High Art here

Gilding the Lili

A woman in a black jacket and black trousers with red lipstick and a red necklace looks severe as she sits on a concrete bench
Lili Reynaud-Dewar © Edouard Jacquinet

Artist Lili Reynaud-Dewar, whose work will be on Emanuel Layr gallery’s stand at Paris+, has been using her body — including in life-size silvery sculptures — to undermine and overturn art history’s ideas about women. But she almost never became an artist, despite her creative family. Our interview with her is here


Florida x France

A rough-hewn white bench on orange legs, one a small cylinder, the other a big block
‘Jut, impale, emerge’ (2021) by Samuel Ross at Friedman Benda © Image courtesy Friedman Benda/Samuel Ross. Photo: Oliver Matich

Last year was supposed to be the debut of not one but two fairs in Paris: Art Basel’s went ahead, but Design Miami found itself without a venue. That’s been rectified this year as, for its first edition, it takes over a gilded residence formerly occupied by Karl Lagerfeld. Find out more here


Two silk jackets, one black, one green, embroidered with white patterns displayed on a yolk-yellow wall
Works by Dilyara Kaipova © Chris Lusher

Central Asia has not attracted much attention in the art world despite its vast size and creative practitioners who blend art and craft, often with nomadic influences and spiritual potency. Artist collective Slavs and Tatars are working to change that at this year’s Asia Now fair. See the artists’ work here

Ring ring!

Neon-bright painting of a futuristic bodysuit like something from Star Wars
‘Dream Police (our lungs)’ (2023) by Kyle Thurman at Sophie Tappeiner © Courtesy the artist/Sophie Tappeiner

Speaking of wandering, “Nomadism is part of our identity and we love the adventure,” says Silvia Ammon, director of contemporary art fair Paris Internationale, which frequently changes venues as it shows less established artists. This year’s host is a former telephone exchange. We spoke to the fair’s director here



A woman stares up at a very tall sponge-like black tree in a gallery
‘One tree per family’ (2023) by Henry Taylor at Hauser & Wirth © Henry Taylor, courtesy the artist/Hauser & Wirth, photo: Jeff McLane

With its 16th gallery, Hauser & Wirth touches down in Paris with a show by US artist Henry Taylor. The choice of the city has played into the big debate about whether Paris is overtaking London. “We don’t favour one capital over the other,” says gallery president Marc Payot. “Of course there is competition, but Paris is important for its layers of history, and a longer engagement with contemporary art.” You can find out more about the new space here

Parisian Pride

An image in two halves: the left is target with concentric black and yellow rings; thr right is a black and white photo of Ronald Reagan with ‘he kills me’ in the same yellow
‘He Kills Me’ (1987) by Donald Moffett © Donald Moffett. Courtesy the artist/Marianne Boesky Gallery. Photo: MNAM-CCI/Hélène Mauri

The Centre Pompidou traces LGBT+ resistance through art of the 20th century, from erotic interwar photography and 1960s leather culture to today’s reflections on how sexuality intersects with gender, class and ethnicity. Scroll down here to see more must-visit shows

Amber alert

Elaborate amber objects such as a tankard and chess board and pieces on forest-green velvet
A group of amber objects from the former collection of Baron Alphonse de Rothschild (1827-1905) and Baron Edouard de Rothschild (1868-1949) © Galerie Kugel/Guillaume Benoit

Although — or perhaps because — amber is a rare, fragile and precious material, craftspeople have been turning it into stunning objects for centuries now. Some of the best examples (including a charming sea monster) are on show at Galerie Kugel. Explore further treasures here

Copyright The Financial Times Limited 2024. All rights reserved.
Reuse this content (opens in new window) CommentsJump to comments section

Follow the topics in this article