Preview: Gagosian at Art Basel Miami Beach 2025

Gagosian to present a selection of important modern and contemporary works at Art Basel Miami Beach 2025. Some of the artists rework historical themes; others use Pop art methods and motifs or present bold new takes on abstraction.

*Maurizio Cattelan’s “Bones” (2025) in production, Carrara, Italy. Artwork © Maurizio Cattelan Photo: Zeno Zotti Courtesy the artist and Gagosian*

Among significant new works interweaving histories of art and society is Jeff Koons’s Eros (2016–24), a dazzling stainless-steel interpretation of an antique porcelain figurine that finds the artist wielding high-end contemporary production techniques to deconstruct ideas of taste and beauty. By producing copies of paintings by Cézanne and Van Gogh, Takashi Murakami explores the “cognitive revolution” sparked by the nineteenth-century tendency of Japonisme. And in the pink marble sculpture Birth (2025), Maurizio Cattelan portrays the head of Julius Caesar taking a brutal punch to the cheek, his noble visage crumpling beneath the impact, while in Bones (2025), he shapes white Carrara marble into the startling form of a plummeting eagle.

*Jeff Koons Neptune and Caenis, 2018–25 Oil on canvas 102 1/8 x 74 3/4 inches (259.4 x 189.9 cm) © Jeff Koons Photo: Maris Hutchinson Courtesy Gagosian*

Marshaling strategies identified with Pop art to explore the visual and verbal languages of commerce, Andy Warhol improvises on a New York Post front page in A Boy for Meg (1961), while Roy Lichtenstein radically simplifies his partially concealed subject into a combination of flat color, line, and Benday dots in Portrait (1977). In Isle of Fear (1987–88), Ed Ruscha superimposes the title’s forbidding phrase on a shimmering nocturnal cityscape. And Jonas Wood, in a new painting of the stadium at the Rolex Paris Masters, links the court’s design with the aesthetics of pure geometry.

*Roy Lichtenstein Portrait, 1977 Acrylic, oil, and graphite pencil on canvas 48 1/8 x 42 1/8 inches (122.2 x 107 cm) © Estate of Roy Lichtenstein Courtesy Gagosian*

Engaging abstraction to blur the boundaries between individual identity and universal themes, Jadé Fadojutimi envelops the viewer in a maelstrom of intense color and texture with Untitled (2025). In Untitled (c. 1988–92), Richard Diebenkorn displays his ability to fuse geometric shapes and compositions with delicate tints and surfaces. And Willem de Kooning probes the potential of color, line, and space to challenge the distinctions between pure abstraction and expressive representation in Untitled X (1985).