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Art Basel Hong Kong has wrapped its 2026 edition with solid commercial results and a notably international crowd, drawing 91,500 visitors over the week and cementing the city\u2019s position as the primary meeting point for the art world in Asia.<\/p>\n
Sales held up well beyond the opening VIP days, with galleries reporting sustained activity across all price points and market segments. Demand for artists from the Asia-Pacific region was particularly strong, spanning both established names and emerging artists, while international artists continued to find buyers among regional collectors. Cross-media and technologically engaged practices gained considerable ground, reflecting both the collector base in the region and a growing institutional appetite for these forms.<\/p>\n
A notable development this year was the full integration of Zero 10, a curatorial initiative focused on digital and technology-driven art, which made its Asian debut following its launch at Art Basel Miami Beach in 2025. The sector established a serious market and critical context for these practices within the fair, responding to what organisers described as a highly engaged regional collecting environment. A second new sector, Echoes, offered tightly focused presentations of recent work and was designed to support mid-market galleries. Both additions generated consistent interest from collectors and institutional visitors throughout the week.<\/p>\n
The Encounters sector, presenting site-responsive and ambitious large-scale works, was led this year by a new curatorial team including Mami Kataoka, Isabella Tam, Alia Swastika, and Hirokazu Tokuyama, with the programming reflecting increased engagement from museum audiences across the Asia-Pacific.<\/p>\n
Institutional attendance was a defining feature of the fair. Representatives from more than 170 museums and foundations across 27 countries and territories attended, among them the Centre Pompidou, Tate, MoMA, the Metropolitan Museum of Art, the Guggenheim, SFMOMA, Fondation Beyeler, Louvre Abu Dhabi, M+, the Hong Kong Museum of Art, the Hong Kong Palace Museum, the Leeum Samsung Museum of Art in Seoul, UCCA Beijing, the Singapore Art Museum, and the Gwangju Biennale, among many others.<\/p>\n
Galleries noted a rise in cross-generational collector engagement and a meaningful increase in first-time buyers entering the market. The fair\u2019s revitalised VIP programme played a role in this, as did the launch of Friends of Art Basel Hong Kong, developed in collaboration with the He Art Museum and Rockbund Art Museum. One participating gallery commented that the trend in Hong Kong \u201ccontinues,\u201d adding that opening-day sales were strong and that a new generation was visibly entering the Asian art market.<\/p>\n
The week also saw Art Basel announce a new five-year collaboration with Hong Kong\u2019s Culture, Sports and Tourism Bureau, a partnership intended to strengthen the city\u2019s standing as an international cultural hub over the longer term. Cross-disciplinary programming extended into the wider city, with partner institutions including Tai Kwun Contemporary, Videotage, and Hong Kong Ballet all contributing to what was a busy cultural moment across Hong Kong during the fair\u2019s run.<\/p>\n
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What The Dealers Said:<\/p>\n
\u201cWe are happy to report that the art world trend for Hong Kong continues. Sales on opening day were strong, and even more importantly, we saw a high number of new collectors. A new generation is entering the Asian art market.\u201d
\u2014 David Zwirner, Founder, David Zwirner (Paris, Hong Kong, London, Los Angeles, New York)<\/p>\n
\u201cI\u2019m thrilled with the opening day at the fair. We\u2019ve reconnected with existing clients and started relationships with new ones. The response to our presentation in the booth and the show in the gallery has surpassed all expectations.\u201d
\u2014 Nick Simunovic, Senior Director in Asia, Gagosian (Hong Kong, Paris, Athens, Rome, Basel, Gstaad, Le Bourget, London, Beverly Hills, New York)<\/p>\n
\u201cSo many of our friends \u2014 curators, artists and collectors \u2014 from the region are in Hong Kong this week and this has translated into great conversations and a wonderful energy. As a result, on day one, we placed works by Louise Bourgeois, George Condo, Rashid Johnson, Lee Bul, Cindy Sherman, Avery Singer, Qiu Xiaofei, and Flora Yukhnovich with highly respected collections and institutions across Asia and beyond.\u201d
\u2014 Marc Payot, President, Hauser & Wirth (Paris, Hong Kong, Monaco, Menorca, Basel, Gstaad, Saint Moritz, Zurich, London, Somerset, Los Angeles, New York, West Hollywood)<\/p>\n
\u201cWith approximately \u00a35 million in total sales and around 20 works placed to date, the enthusiastic response to works by Antony Gormley and Tracey Emin, alongside important acquisitions of pieces by Etel Adnan, Mona Hatoum, Howardena Pindell and Shao Fan, reinforces the strength and relevance of our programme in the region.\u201d
\u2014 Wendy Xu, Managing Director, Asia, White Cube (Hong Kong, Paris, Seoul, London, New York)<\/p>\n
\u201cA lot of top-end, quality collectors are here.\u201d
\u2014 Henrietta Tsui-Leung, Founder, Ora-Ora (Hong Kong)<\/p>\n
\u201cHong Kong is back. We were excited to place significant works by Suki Seokyeong Kang, Lee ShinJa and Jennifer Tee with major Asian institutions and foundations. Many collectors travelled from across the region, notably more visitors from Mainland China.\u201d
\u2014 Tina Kim, Founder, Tina Kim Gallery (New York)<\/p>\n
\u201cIt has been extremely busy since the fair opened to VIPs, with visitors from all corners of Asia and beyond. I\u2019ve had interesting conversations with curators from Hong Kong, Tokyo, Sydney, Vancouver, Jakarta and Dakar. The reach of the fair, and the growing art ecosystem in and around Hong Kong, is impressive.\u201d
\u2014 Dr Nina Levent, Founding Director, Sapar Contemporary (Almaty, New York)<\/p>\n
\u201cDuring this edition, we had the opportunity to meet a diverse range of international collectors, including US-based collectors.\u201d<\/p>\n
\u201cWe are very pleased with the number of new collectors engaged across Asia. Singapore, Thailand, Korea, mainland China and Japan remain strongholds, and we are in active discussions with collectors in Europe and the US.\u201d
\u2014 Jaewoo Choi, President, Johyun Gallery (Busan, Seoul)<\/p>\n
\u201cWonderful to return to Zero 10 for its Asia debut. We met new, geo-specific collectors, including institutions and foundations excited about supporting digital art.\u201d
\u2014 Frederic Arnal, Co-founder, Fellowship (Los Angeles) \/ Zero 10<\/p>\n
\u201cWe were thrilled to see Emi Kusano\u2019s Magical Compact sell immediately after the doors opened. Presenting digital works alongside more traditional, physical artworks proved highly rewarding, allowing us to engage both collectors familiar with digital art and those who typically focus on physical works.\u201d
\u2014 Aniko Berman, Director, AOTM (New York) \/ Zero 10<\/p>\n
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<\/p>\n
What Sold:<\/p>\n
Top-End Sales
A defining feature of the week was the depth of demand at the highest price points, alongside continued confidence in both historical material and major contemporary names.<\/p>\n
David Zwirner (Paris, Hong Kong, London, Los Angeles, New York)<\/p>\n
Liu Ye, 2006 painting \u2014 USD 3.8M
Marlene Dumas, 2002 painting \u2014 USD 3.5M
Micha\u00ebl Borremans, 2019 painting \u2014 USD 1.1M
Bastian (Berlin)<\/p>\n
Pablo Picasso, Le peintre et son mod\u00e8le (1964) \u2014 ~EUR 3.5M
Hauser & Wirth<\/p>\n
Louise Bourgeois, \u00c0 Baudelaire (#1) (2008) \u2014 USD 2.95M
George Condo, Prismatic Head (2021) \u2014 USD 2.3M
Louise Bourgeois, Couple (2002) \u2014 USD 2.2M (to Asian foundation)
Waddington Custot (Paris, Dubai, London)<\/p>\n
Zao Wou-Ki \u2014 USD 2.8M (asking)
Chu Teh-Chun \u2014 USD 1.3M and USD 1.2M (asking)
Cardi Gallery (Milan, London)<\/p>\n
Fernand L\u00e9ger, Deux Papillons sur un Vase Bleu (1948) \u2014 USD 1.8M
Giorgio de Chirico, La Torre (1966) \u2014 USD 800K
Gladstone<\/p>\n
Keith Haring, Untitled (1983) \u2014 USD 1.4M
Alex Katz, Flowers 1 (2011) \u2014 USD 1.3M
Alex Katz, Flowers 2 (2010) \u2014 USD 900K
White Cube<\/p>\n
Tracey Emin, Take Me to Heaven (2024) \u2014 GBP 1.2M<\/p>\n
Broad Market Activity (Mid-Market to Emerging)
Beyond headline sales, the fair saw consistent activity across the mid-market and emerging segments, with transactions spanning five-figure to mid-six-figure levels.<\/p>\n
Berry Campbell (New York)<\/p>\n
Lynne Drexler, Multipile Moons (1973) \u2014 USD 425K
Alice Baber, The Mountain Ladder to the Sea (1974) \u2014 USD 275K
Elaine de Kooning, Basketball #5 (1981) \u2014 USD 100K
Additional works \u2014 USD 25K\u201340K
MASSIMODECARLO<\/p>\n
Yan Pei-Ming \u2014 EUR 250K\u2013350K
Danh Vo \u2014 EUR 200K\u2013300K
Taka Ishii Gallery (Tokyo, Kyoto)<\/p>\n
Antony Gormley, Plane (2025) \u2014 GBP 500K
Jade Fadojutimi, That day she grieved\u2026 (2026) \u2014 ~GBP 350K
White Cube<\/p>\n
Mona Hatoum, Still Life (medical cabinet) IV (2024) \u2014 GBP 225K
Gladstone<\/p>\n
Robert Rauschenberg, Horse Silk (Waterworks) (1992) \u2014 USD 110K
Robert Rauschenberg, Silk Slip (Waterworks) (1992) \u2014 USD 110K
P\u2022P\u2022O\u2022W (New York)<\/p>\n
Seven works by Martin Wong, Dinh Q. L\u00ea, Erin M. Riley, Kyle Dunn \u2014 USD 600K\u2013650K total
SCAI The Bathhouse (Tokyo)<\/p>\n
Natsuyuki Nakanishi \u2014 USD 200K
Spr\u00fcth Magers<\/p>\n
Salvo \u2014 USD 135K
David Salle \u2014 USD 42K
Jessica Silverman (San Francisco)<\/p>\n
Atsushi Kaga \u2014 USD 125K
gdm (Hong Kong, Taipei)<\/p>\n
Lam Tung Pang \u2014 USD 75K
Hakgojae (Seoul)<\/p>\n
Joung Young-Ju \u2014 USD 66K
Jiang Heng \u2014 USD 55K
Sullivan + Strumpf<\/p>\n
Dawn Ng \u2014 USD 55K
Gemma Smith \u2014 USD 22K<\/p>\n
Strong Demand for Asia-Pacific Artists
Demand for artists from the region remained a key driver across the fair.<\/p>\n
Lehmann Maupin<\/p>\n
15+ works sold (USD 20K\u2013400K), including Lee Bul, Do Ho Suh, Mandy El-Sayegh
Tina Kim Gallery<\/p>\n
Suki Seokyeong Kang \u2014 USD 200K
Ha Chong Hyun \u2014 USD 180K each
Pacita Abad \u2014 USD 250K\u2013300K
Kim Tschang-Yeul \u2014 USD 40K
Richard Koh Fine Art<\/p>\n
Eight works by Natee Utarit \u2014 USD 58K\u2013280K<\/p>\n
Institutional Placements
Institutional acquisitions remained a defining feature.<\/p>\n
Anne Imhof \u2014 EUR 220K (Asian institution)
Martha Jungwirth \u2014 EUR 460K (Chinese institution)
Dinh Q. L\u00ea \u2014 USD 150K\u2013200K (Vietnam foundation)
Lee Bul \u2014 USD 275K (Asian museum)<\/p>\n
Sector Highlights
Encounters<\/p>\n
Suki Seokyeong Kang \u2014 USD 80K\u201396K
Kong Kee \u2014 USD 50K\u2013100K
Kabinett<\/p>\n
Maria Taniguchi \u2014 USD 280K
Judy Chicago \u2014 USD 165K
Echoes<\/p>\n
Cian Dayrit \u2014 EUR 10K
Terrence Musekiwa \u2014 USD 10K\u201320K
Discoveries<\/p>\n
Li Tangting \u2014 USD 5K\u201310K
Betty Bee \u2014 EUR 3K\u20137.5K<\/p>\n
Digital (Zero 10)
Digital and hybrid practices gained traction:<\/p>\n
Kim Asendorf \u2014 USD 235K (sold out)
Kevin Abosch \u2014 USD 10K\u201358K
Petra Cortright \u2014 USD 1.8K\u201324K
Laurie Simmons NFTs \u2014 up to USD 12K
Art Blocks kiosks \u2014 HKD 1K<\/p>\n
Additional Highlights
Gagosian<\/p>\n
Sales across Louise Bonnet, Takashi Murakami, Ed Ruscha, and Stanley Whitney
Perrotin<\/p>\n
~70% of booths sold on Day 1
Takashi Murakami \u2014 USD 600K\u2013800K
Uffner & Liu<\/p>\n
Six works \u2014 USD 100K\u2013120K total<\/p>\n