Art Basel Hong Kong 2025 concluded on March 30th at the Hong Kong Convention and Exhibition Centre, marking another milestone for Asia’s premier art fair. With 240 galleries from 42 countries and a record-breaking 91,000 attendees, the 12th edition showcased a vibrant mix of blue-chip masterpieces and emerging talent. From multimillion-dollar sales to thoughtful acquisitions by new collectors, the event reflected a cautiously optimistic art market in the region. Here’s a detailed look at the outcome, what sold, and post-event thoughts on this cultural spectacle.
A Strong Showing: The Outcome of Art Basel Hong Kong 2025
The fair, held from March 28-30 with preview days on March 26-27, reaffirmed Hong Kong’s position as a global art hub. Despite economic uncertainties in the region, galleries reported robust sales, particularly among established names, while emerging artists also found eager buyers. Attendance soared past last year’s 75,000 visitors, signaling a renewed enthusiasm for in-person art experiences. Angelle Siyang-Le, Director of Art Basel Hong Kong, noted, “This year’s edition underscored the city’s role as a cultural nexus, fostering Asia’s flourishing art ecosystem.”
The event coincided with Hong Kong Art Week, featuring additional fairs like Supper Club and major auction house sales, creating a dynamic backdrop. While the pace of transactions was measured compared to pre-pandemic booms, the fair highlighted a maturing collector base in Asia, with a notable rise in younger, community-minded buyers.
What Sold at Art Basel Hong Kong 2025
The sales at Art Basel Hong Kong 2025 ranged from jaw-dropping seven-figure deals to more accessible works by up-and-coming artists. Here’s a breakdown of the standout transactions:
Blue-Chip Highlights
- Yayoi Kusama’s INFINITY-NETS [ORUPX] (2013): Sold by David Zwirner for $3.5 million, this vibrant piece led the fair’s sales, snapped up by a discerning collector on the first VIP day.
- Louise Bourgeois’s Cove (1988, cast 2010): Hauser & Wirth placed this bronze sculpture with an Asian collector for $2 million, showcasing the enduring appeal of Bourgeois’s work.
- Georg Baselitz’s Hannoversche Treue (2010): White Cube sold this striking piece for €1.75 million ($1.83 million), reinforcing demand for European masters.
- Takashi Murakami’s Tan Tan Bo: Wormhole (2025): Perrotin secured $1.35 million for this fresh acrylic and gold leaf painting, a testament to Murakami’s regional popularity.
- Christina Quarles’s Push’m Lil’ Daisies, Make’m Come Up (2020): Another Hauser & Wirth sale, this vibrant work fetched $1.35 million, highlighting interest in contemporary voices.
Emerging and Mid-Range Gems
- Avery Singer’s Untitled (2025): Sold by Hauser & Wirth for $575,000 to a Hong Kong collection, reflecting the appetite for innovative contemporary art.
- Antony Gormley’s OPEN GUT (2023): White Cube moved this cast iron sculpture for £500,000 ($646,000), appealing to collectors seeking sculptural depth.
- Shin Min’s Ew! There is hair in the food! (2025): This installation, presented by Seoul-based P21, won the inaugural MGM Discoveries Art Prize ($50,000 split between artist and gallery), drawing significant attention.
- Allison Katz’s Nightcap (Hitchcock) (2025): Sold for $110,000, this piece underscored the fair’s strength in mid-tier sales.
- Yibei Zhang’s There Is Everything in Our Bonfire (2024): BANK placed this work with M+ in Hong Kong for $25,000, a nod to institutional interest in local talent.
Regional and Historical Works
- Zeng Fanzhi’s Untitled (2024): Hauser & Wirth sold this oil painting for $1.5 million, reflecting strong demand for Chinese contemporary artists.
- Sanyu’s Woman Drawing (1920s): HdM Gallery sold this delicate piece for $37,710 to a Chinese collector, spotlighting early 20th-century Chinese art.
- Pacita Abad’s Works: Tina Kim Gallery reported two sales—one for $500,000 to a Southeast Asian museum and another between $250,000-$500,000—celebrating the late Filipino artist’s legacy.
Post-Thoughts: Reflections on Art Basel Hong Kong 2025
A Market in Transition
The 2025 edition revealed a shifting landscape. While blue-chip galleries like David Zwirner, Hauser & Wirth, and White Cube dominated high-end sales, smaller galleries noted a slower pace, with collectors taking a deliberate approach. This cautiousness mirrors broader economic trends in Asia, yet the fair’s energy remained high. As gallerist Hyun-Sook Lee of Kukje Gallery observed, “The art market seems to be cautiously rekindling,” with international attendees signaling a return to pre-COVID vibrancy.
Rise of the Next Generation
A standout trend was the emergence of younger collectors, particularly from Southeast Asia and mainland China. These Gen Z and millennial buyers, often seen in groups, prioritized content-driven works over speculative investments. Galleries like Blank Projects and Retro Africa reported strong interest in textile art and emerging talents like Samuel Nnorom, whose knotted sculptures (priced $11,500-$22,000) sold out quickly.
Regional Resilience
Despite fewer U.S. collectors and tempered Chinese spending, Southeast Asian participation surged, bolstering Hong Kong’s role as a regional hub. The fair’s focus on Asia-Pacific artists—over half the galleries hailed from the region—underscored its commitment to local narratives. Works like Chow Chun-fai’s socio-political pieces at SC Gallery resonated with attendees, blending global appeal with Hong Kong’s unique identity.
Beyond the Booth
The fair’s expanded programming, including the Para Site-curated film series In Space, It’s Always Night and large-scale Encounters installations, enriched the experience. Highlights like Monster Chetwynd’s Lanternfly Ballet at Pacific Place and Ho Tzu Nyen’s AI-edited Night Charades on the M+ facade bridged art with technology and public engagement, hinting at Art Basel’s evolution into a broader cultural platform.
Final Takeaways
Art Basel Hong Kong 2025 was a triumph of resilience and adaptation. While not every gallery saw blockbuster sales, the event’s diversity—from Kusama’s multimillion-dollar nets to Zhang’s $25,000 bonfire—catered to a wide collector base. The fair’s success lies not just in dollars but in dialogue, connecting a global audience with Asia’s dynamic art scene. As the dust settles, one thing is clear: Hong Kong remains a vital pulse in the art world, poised for growth as new collectors shape its future.
For those planning ahead, mark your calendars for Art Basel Hong Kong 2026—expect even bolder strides in this ever-evolving cultural crossroads.
