2025 Art Predictions

The year 2024 proved to be a fascinating one for the art world. While auction sales dropped by 30% compared to the previous year—particularly affecting emerging artists—several notable sales and milestones stood out. René Magritte's “L'empire des lumières” sold for $121.16 million at Christie's, setting a record for the artist. Ed Ruscha's “Standard Station, Ten-Cent”, sold for $68.26 million underscoring the enduring demand for blue-chip art. Auctions saw a lot of participation from Asian collectors with Monet’s “Nymphéas (1914–17)” selling for $65.5 million, further highlighting the global appeal of iconic works.

There were also many unexpected moments such as Maurizio Cattelan’s “Comedian”, a fresh banana affixed to a wall with duct tape, selling for $6.2 million, stating that the rules of art (if there were ever rules to begin with) are gone. With the geopolitical factors of 2024, there was a lot of refrain and hesitancy in purchasing art at auction, in particular new artists with a less articulated market. However, private sales continued to be stagnant if not more prominent than the year prior. Moving forward, I continue to see private sales as the more favorable landscape for purchasing. 

Progressing into 2025, I predict an overall increase in sales as the economy continues to improve. Buyers, as in 2024, will be looking for quality works with distinguished provenance. I believe there will still be a focus on blue-chip artists with an increased interest in South Asian, Surrealism, Latin American, and modern British artists. Collectors and art enthusiasts will also have their eyes on underrepresented artists such as women and artists from diverse ethnic backgrounds. 

Regarding visual trends, I believe that there will be a focus on material, abstraction, and immersive installations. Buyers like to see something new, but something with contextual weight. In a world where new can be a novelty at times, artists have been pushing the envelope. Jeffery Gibson, for example, had a strong year at Art Basel Miami and highlighted the conversations and mediums that not only garner people’s attention but find places in their homes as well. Gibson’s embellished hanging textiles and elaborate sculptures with tassels and beadwork reflecting his Choctaw and Cherokee heritage is a prime example of what intrigues the market. New materialities and a focus on identity will be a ubiquitous element in 2025. 

How the public experiences and interprets art has also been a trending topic of the past few years and I see that being a continual focus as artists create immersive installations. Unconventional exhibition spaces and site-specific projects will multiply as artists challenge themselves and move past the traditional boundaries of art. Forget art as something being held in your hands, it is now something that you can surround yourself in. 

For galleries, it will be interesting to see how they promote their artists and form their influence. Already established artists were selling above their estimates in 2024, but not for the new and upcoming. Middle tier galleries will need to set themselves apart from the competition and find new ways to engage with the younger generation of art collectors. This new pool of collectors are intrigued by AI and in supporting new artists that provide a strong commentary on today’s environment. I believe 2025 will see emerging artists with a stronger sell-through rate as buyers are getting more comfortable with the economy stabilizing. 

According to Merrill Lynch, “the estimated value of art and collectibles is expected to exceed $2.8 trillion by 2026 and this category will make up approximately 11% of the portfolios of ultra-high-net-worth individuals. Younger generations are expected to inherit $72 trillion over the next two decades, which could spur interest in the art lending market.” I foresee art growing as an asset for the younger generation and aforementioned, I see these young affluent collectors acquiring from new artists who utilize innovative mediums and formats. It is imperative for galleries to align their inventory with this new demographic’s desire. 

In addition, many veteran collectors have built strong and multi-layered collections, subsequently opening private museums and foundations to show off their acquisitions. I anticipate to see these collectors continue with growing their collections and finding unique ways in preserving and passing them to the next generation.

I predict an exciting year for the art world. Anything is possible, so needless to say I am expecting surprises.