The eagerly anticipated Zona Maco, one of Latin America’s leading art fairs, opened its doors on Wednesday with a VIP preview that was nothing short of electric.
The excitement in the air was palpable, as gallery representatives observed a lively gathering of discerning collectors from both Latin America and the United States.
Sales were brisk and varied, not limited to only the high-end artworks lining the walls.
Opening Day Highlights
José Kuri, co-founder of the renowned Kurimanzutto gallery, shared that the atmosphere on opening day felt unprecedented in the last five years.
He characterized it as an extraordinary kickoff, highlighting the buzz that permeated the event.
By the end of the day, Kurimanzutto had celebrated impressive sales, including five paintings by artist Roberto Gil de Montes, which were priced between $25,000 and $60,000.
A drawing from Gabriel Orozco’s “Diario de Plantas” series also found a new owner for $35,000, while Leonor Antunes’ sculpture *Ana #1* commanded a significant $90,000.
Other artists, such as Damian Ortega, Dr. Lakra, Gabriel Kuri, Daniel Guzman, Danh Vo, and Bárbara Sánchez-Kane, contributed to the gallery’s successful day, with prices generally ranging from $3,000 to just below the Antunes piece.
Notably, representatives from the SFMOMA and the Denver Art Museum purchased two works, indicating a positive trajectory for future additions to their collections.
However, not all pieces found buyers.
The day concluded with Kurimanzutto’s most valuable artworks, a striking gold-and-red piece by Orozco listed at $300,000 and Oscar Murillo’s *manifestation* (2020–22) tagged at $550,000, remaining unsold.
Kuri expressed a desire for the Murillo to be acquired by a local collector, emphasizing the importance of supporting the regional market as local collectors increasingly make swift purchasing decisions.
Attendee Engagement and Diverse Offerings
The fair attracted an impressive array of attendees, including Jorge Pérez from the Pérez Art Museum Miami, Brooklyn Museum’s director Anne Pasternak, and various museum trustees, alongside prominent collectors from Mexico and beyond.
Pace Gallery added to the vibrant atmosphere with a captivating presentation inspired by the colorful designs of Mexican architect Luis Barragán. Featured artists included Arlene Shechet, Dan Flavin, and James Turrell—whose works provided a serene counterpoint amidst the fair’s hustle and bustle.
Much like their peers at Kurimanzutto, Pace experienced a spirited day of sales, although some of their top-tier pieces remained on display.
Among their notable transactions was a 2024 work on paper by Nigel Cooke priced at $110,000, a Kylie Manning painting listed at $100,000, and a sculpture from Shechet’s “Together” series selling for $75,000.
Pace’s centerpiece was undoubtedly an exquisite 2002 painting by Agnes Martin titled *Untitled #5*, with a whopping price of $5.5 million, alongside two striking portraits of Frida Kahlo by Julian Schnabel, each valued at $550,000.
Emerging Artists and Controversy
Meanwhile, Sean Kelly Gallery showcased a diverse selection of Latin American artists with prices ranging from $12,000 to $225,000.
The gallery highlighted works by Marina Abramović in conjunction with her Art Week performance at La Cuadra San Cristóbal and the launch of her latest work, *The Message*, a compelling black-and-white print priced at $125,000.
Sean Kelly reported a solid day with sales that included an Anthony Akinbola piece for $30,000 to $40,000.
A work by Janaina Tschape was sold for between $100,000 and $125,000, along with other notable sales.
Larger galleries such as OMR and Proyectos Monclova from Mexico City offered an impressive array of artworks, achieving a substantial number of sales between $20,000 and $120,000, although they chose to keep specific details private.
Meanwhile, smaller galleries experienced varying degrees of success, but many were buoyed by significant foot traffic and visible enthusiasm from both local and international collectors.
At PALO Gallery, based in New York and spotlighting Atlanta’s Lewinale Havette, founder Paul Henkel celebrated successful sales, including several drawings acquired by a university art collecting club at $1,500 each and a major painting put on hold at $24,000.
Focusing on the prestigious Erarta Foundation Art Prize, emerging galleries in the Ejes section emphasized their ambitions beyond simple sales, competing for the $100,000 award chosen by attendees.
One standout presentation came from OSL Contemporary in Norway, showcasing a poignant installation by Vanessa Baird.
This thought-provoking work, priced at $200,000, featured scrolls that depicted bodies embroiled in violence and conflict, prompting impactful discussions among fairgoers and emphasizing the political themes resonating throughout the fair.