ZONAMACO was packed from the early hours of its V.I.P. opening on Wednesday, buzzing with an energy that felt worlds apart from where the art world last left off in Miami. Even with a noticeable influx of e-collectors—and partygoers—from the U.S., the real movers and shakers were the Mexican and Latinx collectors from across the region, who arrived ready to celebrate the resilience of an art scene that, after withstanding the pandemic, now finds itself at the center of global attention.
More importantly, there was a palpable sense that all the gringos were here as friends—proof that the art community can transcend borders (and tariffs) when rallying around a scene that’s more compelling than ever. Many dealers remembered just how hard it once was to break into Mexico: sales were only the final step in a gauntlet of customs paperwork, logistical headaches and a maze of local suppliers. While the looming threat of new tariffs imposed by Trump has become an added concern and several dealers still struggled with customs hurdles, there was plenty of dynamic sales activity at a range of prices throughout the day. As Zelika Garcia told Observer in a recent interview, returning to Mexico year after year pays off; at yesterday’s preview, dealers were eager to confirm the truth of that statement.
The fair marks Sean Kelly’s seventh outing in Mexico City, and Lauren Kelly reported a strong start to sales by the early hours. Among the first to go were a painting and multiple sculptures in the $65,000-$100,000 range by Mexican star Jose Dávila, along with an early work by Marina Abramović, a painting by Kehinde Wiley ($225,000) and several pieces by Brazilian painter Janaina Tschäpe ($100,000-$125,000). Making a successful Mexico debut with the gallery were Anthony Akinbola ($30,000-$40,000), Ana Gonzalez ($20,000-$30,000) and Brian Rochefort ($20,000-$30,000).
Over at Pace Gallery, sales were just as brisk—particularly at their Luis Barragán-inspired booth, which offered a seamless journey between South American masters and international artists, all in vivid dialogue. With a focus on color, light and space, the presentation featured Frida Kahlo portraits by Julian Schnabel, alongside works by Peter Alexander, Mary Corse and Dan Flavin, with a meditative, color-shifting James Turrell installed in a side room for full effect. By the end of the day, the gallery had placed a Kylie Manning painting for $100,000—fresh off her solo show at Art Sonje in Seoul and ahead of her first major New York solo exhibition opening at Pace this March. Also sold: a 2024 glazed ceramic and powder-coated steel sculpture from Arlene Shechet’s latest series for $75,000. Meanwhile, three new works on paper by Robert Nava—strikingly hung on a pink wall—went for $40,000 each, building anticipation for the artist’s upcoming solo show at Pace New York in March.
SEE ALSO: At Guadalajara Art Weekend, Open Studios Are the Biggest Draw
Galleria Continua has been showing at the fair for more than a decade, and as one of the owners put it, “It’s been thirteen years that Galleria Continua at ZONAMACO has been meeting Latin American and Mexican art lovers, and now many are friends.” This year, works by Michelangelo Pistoletto, José Yaque, Kader Attia, Adel Abdessemed and Julio Le Parc found homes in Mexico, particularly with collectors in the north. “Having Continua Gallery also in Havana makes us feel even closer to Mexico!” Lorenzo Fiaschi told Observer.
Kates-Ferri Projects also saw an incredible turnout, presenting the already in-demand artist Studio Lenca. By 1 p.m., only two of the fourteen available works remained (prices ranged between $7,000 and $24,000), with at least four confirmed sold in person during the early hours of the fair. Among the unsold pieces was a survival water bottle made of clay from the Rio Grande—the river the artist crossed as a child with his mother while fleeing the war in El Salvador to reach Texas. (The artist insists the emotionally and politically dense work can only be placed in a museum.) Previously, Lenca sold out at Frieze London in October, and collectors lined up at Untitled Art in Miami to acquire his work with Carl Freedman Gallery. Only one large canvas remained an hour before closing.
Gathering from London, which presented a small solo in the young section last year before scaling up to a full booth, reported an excellent first day. The gallery showcased three works by fast-rising Peruvian artist Wynnie Mynerva alongside Tai Shani, who celebrated an opening at Hauser & Wirth Somerset this week while also introducing the disillusioned, disconcerting charcoal works of Georgian artist Tamara K.E. to a Mexican audience. “It’s been a very strong start,” commented Alex Flick, reporting sales for both Wynnie and Tai’s work to outstanding collections, while their off-site exhibition with Stefan Brüggemann had already seen great success. “Mexico City is in an exciting cultural moment right now, with incredible energy that’s something to be part of. We look forward to the rest of the week.”
In the Ejes section, Swivel Gallery saw strong sales, placing six out of nine paintings by young Mexican artist Rodrigo Ramírez, whose works explore the conflict between bodies and realities. Prices were strategically set at under $10,000—appropriate for an artist on the rise. Ramírez has a solo show confirmed at OMR’s new space, Bodega, in collaboration with Agustina Ferreira, while simultaneously developing projects in both Europe and Asia.
OMR, a powerhouse representing some of the most important Mexican and international artists today, saw a nonstop flow of visitors to its booth. By the end of the day, the gallery had confirmed sales of works by Jose Dávila, Alicia Kwade, Gabriel Rico, Sebastian Silva, Eduardo Sarabia and Jorge Méndez Blake, with several acquisitions going to international museums.
Teófilo Cohen, owner of Proyectos Monclova, was enthusiastic. When Observer approached him in the late afternoon, he had just closed the sale of a complex installation by promising young Mexican artist Josué Mejía. This followed a busy morning of transactions, including multiple works by the gallery’s top artists: masterfully carved wooden sculptures by Edgar Orlaineta and delicate butterfly compositions by Gabriel Della Mora.
Many exhibitors told us that museum groups had a strong presence this year at a fair that continues to leave ample room for discoveries and curatorial presentations. A standout example of a booth explicitly tailored to institutions was Ruth Benzacar Galería de Arte from Argentina, which presented a solo show of museum-quality works by Liliana Porter. Prices ranged from a constellation of letters priced at $8,000 to a full-scale wall installation in the $100,000 range.
Another must-see in the Ejes section, curated by Bernardo Mosqueira, was the Dot Fifty Miami presentation spotlighting Berlin-based exiled Cuban artist Hamlet Lavastida. A co-founder of the 27N movement—a collective of Cuban artists, writers and intellectuals advocating for greater freedom of expression and democratic reforms—Lavastida’s career has been shaped by political persecution. After a residency in Berlin in September 2021, he was arrested upon returning to Havana, imprisoned for three months and subjected to intense interrogations before being deported to the European Union. Since January 2022, he has lived and worked in forced exile in Berlin. The gallery featured a series of intricate cutouts, painstakingly created with X-Acto knives using appropriated images, priced in the $20,000-$25,000 range. The works confront state narratives, exposing the brutal realities of political oppression, ideological repression and propaganda in Cuba.
However, the most buzzed-about booth this year belonged to Osl Contemporary, which presented a confrontational installation of large-scale scrolls by Norway’s most acclaimed contemporary artist, Vanessa Baird. Unapologetically addressing the atrocities and human toll of the conflict in Gaza, Baird’s work is both unsettling and visceral, filled with entangled, tormented, terrified and seemingly powerless figures. Among them, scrawled across one of the panels, are the words: “Boycott Israel.” The gallery is offering the installation as a single piece, with the intent of securing a museum placement.
RGR, another Mexico City powerhouse straddling Latino postwar art and contemporary movements, also reported a strong showing, with sales of works by Francisco Muñoz, Magali Lara, Galia Eibenschutz, Matthias Bitzer and a large reflective sculpture by Jeppe Hein.
Overall, the energy throughout the opening—and in the days leading up to it—strongly reinforced Mexico City’s status as a global art destination. What remains questionable, however, is just how many Americans and international buyers are actually coming to Mexico to collect. Aside from museum acquisitions and curator-driven purchases, the real driving force behind the fair’s success seemed to be the large contingent of regional collectors who are not just showing up but actively investing in the scene.
ZONAMACO is at Centro Citibanamex through Sunday, February 10, 2025.
