Art Basel

Hall 2.0, Booth E3
11–16 June 2024

Highlights of our presentation include new and recent works by Jules de Balincourt, María Berrío, Eric Fischl, Idris Khan, Yayoi Kusama, Conrad Shawcross and Sarah Sze, and important historical works by Geoffrey Holder, Alice Neel and Paula Rego.

Works on view celebrate current and future gallery exhibitions: including a new painting made especially for this presentation by Sarah Sze, whose exhibition at our Venice gallery continues until 16 June; a painted bronze sculpture by Eric Fischl, whose exhibition in collaboration with Vortic Artists Projects opens in Venice on 29 June; a work from the 1980s by Geoffrey Holder who, along with his brother Boscoe Holder, is a focal point of our summer programme in London, previewing from 31 May; paintings and sculpture by Yayoi Kusama, who will have a solo exhibition of new work in London from September; and new paintings by Jules de Balincourt and María Berrío, giving a foretaste of their solo exhibitions in London, opening in October and November respectively.

Additionally, the gallery will have works available to view by Ali Banisadr, Kudzanai-Violet Hwami, Chantal Joffe, Grayson Perry, Hedda Sterne and Flora Yukhnovich.

Selected works are featured below:


Jules de Balincourt

Oil on panel
121.9 x 111.8 cm
48 x 44 in

Jules de Balincourt, Untitled, 2024

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María Berrío

Collage with Japanese papers, watercolor paint, and gold leaf on linen
142.2 x 182.9 cm
56 x 72 in

María Berrío, Canticle of the Open Palm, 2024

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‘Berrío’s works are powerfully alluring, both in craft and sentiment: They ache with a desire for childhood to be kind and gentle, as childhood should be.’ — Murray Whyte, The Boston Globe 


Eric Fischl

Painted bronze relief
169 x 182 x 59cm

Eric Fischl, Lady with Red Hat, 2023

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‘Working backwards from the newest VR technology to the age-old process of bronze casting represents the journey these sculptures have taken. No question about it, we live in an age of technological wonder, and being able to bring together these two disparate technologies is irresistible to me as an artist.’ — Eric Fischl


Geoffrey Holder

Colour pencil and graphite on paper
81.3 x 104.1 cm
32 x 41 in

Geoffrey Holder, Resting, 1988

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Idris Khan

Watercolour mounted on aluminium
256.3 x 234.3 cm
100 7/8 x 92 1/4 in

Idris Khan, After The Breakfast, 2024

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‘The notes, just like the rest of the composition, reference the pigment structure of the historical works, posing the question: can we not only see and interpret color, but can we hear color, too?’ — Marcelle Polednik


Yayoi Kusama

Acrylic on canvas
100 x 100 cm
39 3/8 x 39 3/8 in

Yayoi Kusama, INFINITY NETS [BAKTY], 2014

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Painted bronze
145 x 150 x 150 cm
59 1/8 x 57 1/8 x 57 1/8 in

Yayoi Kusama, PUMPKIN, 2018

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‘Pumpkins have been a great comfort to me since my childhood; they speak to me of the joy of living. They are humble and amusing at the same time, and I have and always will celebrate them in my art.’ — Yayoi Kusama


Alice Neel

Oil on masonite
92.7 x 46.7 cm
36 1/2 x 18 3/8 in

Alice Neel, Mady, 1948

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Oil on canvas
91.4 x 66 cm
36 x 26 in

Alice Neel, Sam in Checkered Shirt, 1952

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‘Neel was a master of her medium and she often exploits its possibilities to the full in her renditions of faces.’ — Minna Moore Ede


Paula Rego

Pastel on paper on aluminium
180 x 120 cm
70 7/8 x 47 1/4 in

Paula Rego, The Fisherman, 2005

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‘If Rego mythically brings to the surface some of what lurks in the depths, it is usually to do with perplexing human relations.’ — Deborah Levy

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Conrad Shawcross

Weathering steel
215 x 72 x 83 cm

Conrad Shawcross, Paradigm – B Chamfer (Structural), 2022

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Paradigm is a beacon for progress and endeavour but contains fallibility and should serve as a constant reminder of the precariousness of knowledge.’ — Conrad Shawcross


Sarah Sze

Oil paint, acrylic paint, archival paper, acrylic polymers, ink, diabond, aluminum, and wood
197.5 x 149.9 x 3.8 cm
77 3/4 x 59 x 1 1/2 in

Sarah Sze, Waking, 2024

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‘Sze’s enquiry is one of orientation: how does one locate oneself in a painting, and how can a painting’s effect be one of disorientation?’ — Erin Manns


Installation views


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