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23/10/2026

Four works. Four reasons to look closer.

From Gerhard Richter’s blurred paintings to Lucio Fontana’s slashed canvases, these four artists challenged how we see and define art.

Here’s what to look for at Art Basel Paris:
 
01 · Gerhard Richter
Gallery: Peter Freeman, Inc. · Booth: 0.C41
Richter has spent decades exploring the relationship between photography and painting. By translating photographic images onto canvas and blurring their details, he questions what we see, what we remember and what a painting can reveal.
 
02 · Marcel Duchamp
Gallery: Larkin Erdmann · Booth: 0.D32
Duchamp changed the debate around what could be considered art. His readymades challenged the idea that an artwork had to be made by hand, raising questions about authorship, intention and artistic value that remain relevant today.
 
03 · Pierre Soulages
Gallery: Galerie Karsten Greve · Booth: 0.C19
Soulages transformed black into a study of light. Through ridged, textured surfaces, his paintings reflect and absorb light differently as the viewer moves around them.
 
04 · Lucio Fontana
Gallery: Tornabuoni · Booth: 0.E26
By cutting into the canvas, Fontana challenged the traditional limits of painting. His Concetti spaziali opened the painted surface to space, turning the canvas itself into part of the artwork.
 
Four artists who changed how we think about images, materials and artistic expression.
 
Which work would you look at first?
 
ARTEX GM · Art Basel Paris 2026

23/10/2026

First day open to the public at Art Basel Paris. We came looking for three works, each tied to one of our questions.
An On Kawara back on the market after almost 50 years. Vera Molnár’s rule-based art, made long before AI. And Moka Lee’s portraits, built from images found online.

The fair closes this weekend, so if you’re visiting, here are three works worth stopping for.

Which would you stop for?

16/10/2026

Image In 1826, the first photograph was made, and painting was declared obsolete. It wasn’t. It changed direction.

Two centuries later, AI is reopening the same debate, and the art market is already responding.

At Art Basel Paris (23–25 October), we’ll be following three questions:
1️⃣Value. Established art is outperforming, with Impressionism up 47% in 2025. Coincidence, or a signal of what collectors value as AI spreads?

2️⃣Proof. If a machine can make it, how do you prove a human did?

3️⃣Access. A new generation discovers art online. Do they still need to see it in person before they commit?

We’ll report what we find from inside the fair, and share the answers once it closes. Which question matters most to you?

15/10/2026

Francis Bacon’s Figure in Movement achieves £17.2 million at Christie’s London.

Sold last night for £17,185,000 ($22,752,940 / €20,312,670), the painting was the leading lot of The Peter Simon Collection Evening Sale.

The collection achieved a total of £107.5 million, becoming the highest-value single-owner collection ever sold at Christie’s London. With 98% of lots sold and 99% of the total value sold, the results reflect sustained demand for significant works of art.

The masterpiece’s performance reaffirms Francis Bacon’s position at the absolute pinnacle of the international art market’s value hierarchy.

At ARTEX GM, we follow the results that shape the conversation around exceptional art and the market for it.

The global art market returned to growth in 2025. But the more interesting question is what is driving that recovery.Glo...
14/10/2026

The global art market returned to growth in 2025. But the more interesting question is what is driving that recovery.

Global sales reached $59.6bn, up 4% after two consecutive years of decline. Auctions led the rebound, while gallery sales grew more modestly. Buyers also returned to physical events, with art fairs accounting for 35% of dealer sales.

Yet the recovery remains uneven.

The strongest growth was concentrated around established names and the highest-value works. Impressionism saw significant growth, while contemporary dealers remained broadly flat. At the same time, collectors continued to diversify beyond painting into areas such as sculpture, photography and prints.

That makes the upcoming Art Basel Paris particularly interesting.

As the market enters the final quarter of the year, the fair will provide another opportunity to observe where collector demand is actually moving — and whether the broader market is gaining momentum or simply benefiting from strength at the top.

Swipe through our latest market snapshot. We’ll be following the signals coming out of Paris over the weeks ahead.
 

09/10/2026

A Francis Bacon to watch.

On 14 October, Figure in Movement (1978) will lead Christie’s Monsoon: The Peter Simon Collection Evening Sale in London.

Now almost 200 works from the collection are coming to market, with an overall estimate of up to £127 million. 
 
Estimated at £14–18 million, the work is the highest-estimated lot among the 41 works offered in the evening sale.

Acquired by Peter Simon in 2006, the painting is a striking example of Bacon’s late-1970s practice, depicting a figure emerging from darkness in a composition charged with movement, colour and energy.

As the auction approaches, all eyes will be on the result.

Will Figure in Movement set the tone for the sale?

We’ll be watching.

05/10/2026

Today, CanTra goes live.
An important new step in the ARTEX ecosystem — extending regulated access to investment opportunities linked to exceptional real-world assets to a broader generation of investors.
From infrastructure and regulated trading to distribution and investor access, the ecosystem continues to take shape.
Congratulations to the entire CanTra team on an important milestone.
Access the Exceptional.

11/09/2026

Two Renoir paintings have been stolen from a museum in southern France — but their history makes this heist even more remarkable.
The two missing works are classified as MNR works, meaning they were recovered in Germany after WWII amid unresolved ownership histories.
One of them, Jeune fille au puits, is considered probably looted during the N**i occupation.
And one of the paintings recovered after the theft, Coco lisant, also has a N**i-looted history and was restituted to France in 1994.
More than 80 years later, two of these works are missing again.

27/08/2026

Yayoi Kusama leaves behind more than an extraordinary body of work. She leaves behind a different way of seeing.
For decades, she transformed repetition, infinity, and the visions of her inner world into a visual language that became unmistakably her own.

Her Infinity Mirror Rooms are perhaps the clearest expression of that vision. They don’t simply ask us to look at an artwork—they place us inside it. Surrounded by endless reflections, the boundaries of the self begin to blur, and perception becomes the experience itself.

Since the late 1970s, Kusama chose to live in a psychiatric hospital in Tokyo while continuing to create every day from her nearby studio. Art became a constant: a means of expression, structure, and survival.

Her passing marks the end of a remarkable life, but not the end of her vision.
Kusama showed us that art can transform the deeply personal into something universal—and that a single way of seeing can change how millions see the world.

Her infinity continues.

ARTEX. Art, differently.

06/08/2026

Robert and Ethel Scull were not simply buying works of art.
They were buying into a cultural shift before it had fully entered the market.
Their 1973 Sotheby’s sale became a turning point because it revealed something new: contemporary art was no longer sitting at the margins of taste. It was becoming a serious cultural and financial force.
That is what makes this story so relevant today.
In art, value is often created before consensus — when a work, an artist, or a movement starts defining the artistic language of its time.
To invest in art is to participate in that moment of recognition.
Artex. Art, differently.

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