![Amedeo Modigliani, \nJeune femme brune, 1917\u201318, \noil on canvas, \n21-7\/8\" \u00d7 15\" (55.6 cm \u00d7 38.1 cm), \n#97107, \nFormat of original photography: high res TIFFs.](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/03\/97107_MODIGLIANI_v01AltFrame-HighResolution%E2%80%94300dpi-1.jpg?w=400\")
<\/div>\n<\/div>\n\tMore highlights from that approximate price-range include\u2014Tracey Emin\u2019s vast\u00a0acrylic\u00a0painting\u00a0Take me to Heaven<\/em>\u00a0(2024), at White Cube,\u00a0for\u00a0approximately\u00a0$1.6 million;\u00a0a\u00a02006 painting by Liu Ye, at David Zwirner, for $3.8 million;\u00a0and\u00a0Martha Jungwirth\u2019s\u00a0Ohne\u00a0Titel<\/em>\u00a0(2021), at Thaddaeus Ropac,\u00a0for\u00a0roughly $532,000. (The Liu painting sold, as did the Jungwirth, which went\u00a0to a Chinese institution.)\u00a0<\/p>\n \n\tEntry-level-priced\u00a0works\u00a0also\u00a0got their due: Busan\u2019s\u00a0Johyun\u00a0Gallery reported 37 works sold, ranging from $9,000 to\u00a0$180,000,\u00a0among them\u00a0pieces\u00a0by\u00a0Park Seo-Bo, Kim Taek Sang, and Lee Bae.\u00a0<\/p>\n \n\tZero\u202f10, the digital-focused sector making its Asia debut, proved a favorite with curators and collectors, and buyers\u00a0generally engaged\u00a0beyond conventional painting and sculpture. In the sector,\u00a0Asprey Studio\u00a0sold works by\u00a0Qu\u00a0Leilei\u00a0($45,000) and\u00a0Tim Yip\u00a0($35,000).\u00a0Lauren Tsai, whose Instagram following surpasses the\u00a0gallery\u2019s, marked her first collaboration with\u00a0Perrotin\u00a0via a sculptural and video installation: a puppet whose head went to bed without its body, accompanied by a flickering television. The entire installation\u00a0remains\u00a0on\u00a0hold, with two pieces already sold. In the same booth,\u00a0Steph Huang\u2019s installation\u00a0Grafting<\/em>, which spills into the Encounters sector, had been earmarked by influential (but\u00a0unnamed) institutions across\u00a0mainland China, Hong Kong, and Taiwan.\u00a0<\/p>\n \n\tIn from San Francisco,\u00a0Jessica Silverman<\/strong>\u00a0placed\u00a0Atsushi Kaga\u2019s\u00a0Homage to\u00a0Jakuch\u016b\u00a0\u2013 Panel 7<\/em>\u00a0(2025)\u00a0with a US institution. The booth also featured a series of new\u00a0Judy Chicago\u00a0works: pearlescent panels evocative of \u201chothouses\u201d\u2014\u00e0\u00a0la\u00a0Ana\u00efs Nin\u2014one of which pre-sold for $165,000.\u00a0<\/p>\n \n\tDespite Chicago\u2019s stature within the US,\u00a0she\u2019s\u00a0had little market exposure in Asia, Silverman said. \u201cCollectors haven\u2019t had an opportunity to buy her art,\u201d she explained, noting that outside this edition of\u00a0Art\u00a0Basel, Chicago rarely appears at Asian fairs. Sales typically occur through direct gallery or auction-house channels.\u00a0<\/p>\n \n\tBy contrast, almost four hours into the preview, the upper floor remained\u00a0relatively sedate. Silverman attributed this to the fair\u2019s layout: with blue-chip galleries concentrated in Hall\u202f1, crowds naturally flocked there first.\u00a0<\/p>\n \n\tRichard Nagy, whose eponymous gallery had yet to make a sale by 7\u202fp.m., credited his showing to differences in taste rather than geography.\u00a0 \u201cWell, this year there are pretty much no galleries showing pre\u2011war art apart from us,\u201d he said,\u00a0having\u00a0noted earlier\u00a0Acquavella\u2019s absence. \u201cLast year this section was all secondary\u00a0market,\u201d he added, gesturing toward a long row occupied by\u00a0Asia Art Centre.\u00a0<\/p>\n \n\t\u201cI\u2019d guess the balance between the cost of Art Basel and the returns wasn\u2019t good enough,\u201d he said. Explaining further, he noted his gallery\u2019s price points\u2014$200,000 to $4\u202fmillion\u2014were higher than most, with the top spot held by\u00a0Paul Delvaux\u2019s monumental\u00a0Nudes with the Statue of Marcus Aurelius.<\/em>\u00a0<\/p>\n \n\t\u201cPeople are not confident about how the pricing is determined, so they probably come, ask, and then go away\u2014logging onto Artnet<\/em> instead,\u201d he concluded.\u00a0<\/p>\n \n\tElsewhere on the floor,\u00a0Charmaine Chan, a director at Hong Kong\u2019s\u00a0Pearl Lam, struck a more measured note. While reporting several five-figure deals by 5\u202fp.m., she\u00a0observed\u00a0that the \u201cdecisive\u201d buying\u00a0typical of\u00a0local collectors was noticeably absent. <\/p>\n \n\t\u201cIt\u2019s obvious that sales are slower than usual,\u201d she said, speaking as a veteran of the Art Basel Hong Kong branch.\u00a0\u201cUsually, Hong Kong buyers are quite decisive. Three years ago, we had\u00a0Mr. Doodle\u00a0in the booth, and we sold out on the first day.\u201d\u00a0<\/p>\n \n\tHer perspective contrasted with that of\u00a0Pace\u2019s\u00a0Marc Glimcher, who framed the absence of some big collectors as a more relaxed dynamic. The gallery was in\u00a0\u201cno rush\u201d to make a sale, he said.\u00a0<\/p>\n \n\tChan, in turn, saw the slower pace as a sign of Hong Kong\u2019s unpredictable\u00a0collecting environment.\u00a0\u201cAnd we\u00a0don\u2019t\u00a0know the solution to that,\u201d she said.\u00a0\u201cIn general, our market is still a question mark.\u201d\u00a0<\/p>\n<\/div>\n<\/div>\n [analyse_source url=”https:\/\/www.artnews.com\/art-news\/market\/art-basel-hong-kong-sales-report-2026-1234778967\/”]<\/p>\n","protected":false},"excerpt":{"rendered":" [analyse_image type=”featured” src=”https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/03\/abhk-2026.jpg?w=1024″] Editor\u2019s Note:\u00a0This story originally appeared in\u00a0On Balance,\u00a0the ARTnews\u00a0newsletter about the art market and beyond.\u00a0Sign up here\u00a0to receive it every Wednesday. Cash flowed, but confidence trickled on Day\u202f1 of Art Basel Hong Kong, where\u00a0a cross-section of the 240 galleries offered a spectrum of\u00a0responses to one simple question: How are sales?\u00a0 At Hauser & […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[61,226],"class_list":["post-1849322","post","type-post","status-publish","format-standard","hentry","category-politics","tag-artnews-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1849322","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1849322"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1849322\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1849322"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1849322"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1849322"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/03\/hauser2026.jpg?w=400\")
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