ART BASEL PARIS

Pace has represented Dubuffet for nearly 60 years, with the artist joining the gallery in 1967 and presenting his first solo show, Painted Sculptures, in New York in 1968. Dubuffet and Pace founder Arne Glimcher maintained a close friendship after meeting in a Paris café in 1966, which lasted until the artist’s death two decades later. The paintings on view at Art Basel reflect Dubuffet’s bold departures from art historical traditions and his lasting impact on contemporary art.

This impact can be felt in the progressive practices of present-day artists showing on Pace’s booth, including Yto Barrada, Lynda Benglis, Nigel Cooke, Mary Corse, Elmgreen & Dragset, Pam Evelyn, Huong Dodinh, Loie Hollowell, Alicja Kwade, Li Songsong, Lee Ufan, Li Songsong, Asher Liftin, Robert Longo, Mao Yan, Beatriz Milhazes, William Monk, Robert Nava, Adam Pendleton, Lauren Quin, Michal Rovner, Julian Schnabel, Arlene Shechet, Mika Tajima, Leo Villareal, and Anicka Yi. These contemporary works are shown in dialogue with a selection of historical paintings, sculptures, photographs, and works on paper by John Chamberlain, Sam Gilliam, Rita Letendre, Kenneth Noland, Irving Penn, Richard Pousette-Dart, Joel Shapiro, Tony Smith, Paul Thek, and Wayne Thiebaud.

Two sculptures by Alexander Calder will also feature in the presentation. Pace has worked closely with the Calder Estate since 1984 and has mounted numerous exhibitions of Calder’s work at its galleries around the world. The 2026 edition of the ARtCHIPEL festival, opening October 15, will include Calder in the Heart of France, an immersive art trail spanning fifteen major sites across the Centre-Val de Loire Region.

At booth #E32, Pace Di Donna Schrader Galleries’ presentation will be anchored by Amedeo Modigliani’s Nu étendu (Lolotte) (1917), which depicts the artist’s most celebrated, radical, and visually arresting subject, the reclining nude. The majority of examples from his series of reclining nudes, painted from 1916 to 1919, are now held in significant museum collections around the world. This work boasts exceptional exhibition history, and confirmation of its inclusion in the artist’s only lifetime solo exhibition in 1917 at Galerie Berthe Weill was established through scholar Marc Restellini’s research and scientific methodologies. Nu étendu (Lolotte)’s presentation at Art Basel Paris marks its return to market over a century after the present owner’s family acquired the work from Modigliani’s dealer Léopold Zborowski in 1920. Modigliani will be the subject of an exhibition at Pace in New York in 2027. The booth will also include works by Constantin Brancusi, whose sculptures will feature in an exhibition opening this November at Pace in London.

Highlights on Pace’s booth include:

La chaise (1964) by Jean Dubuffet, the artist’s only painted depiction of a chair from his storied Hourloupe cycle and an early example of his iconic style.

Alexander Calder’s Untitled (1948)—a free-standing mobile illustrating his masterful creation of kinetic forms—and the stabile Much Pierced (c. 1947).

A soft pastel drawing on paper by Loie Hollowell, whose paintings feature in the group show Exquisite Corpse at Pace in Berlin, curated by the artist and on view through November 8.

Black Dada (B) (2026) by Adam Pendleton, whose first institutional exhibition in the Netherlands—Some Kind of Wild Language–opens October 8 at the Stedelijk Museum Amsterdam.

A recent marble and blackened steel sculpture by Arlene Shechet, whose one-artist exhibition She Said She Said in on view at Pace in New York though October 24.

A new painting by Lauren Quin, who recently presented a solo booth with Pace at Tokyo Gendai 2026.

Robert Nava’s Bat with Lightning Cloud Clown with Several Ghosts (2024), a fantastical, forceful painting composed with oil, acrylic, and grease pencil on canvas.

A colored pencil drawing on paper by Asher Liftin, whose one-artist exhibition Recent Work is on view at 125 Newbury in New York through October 31.

Untitled (Daniel) (2026) by Robert Longo, a highly detailed, hyperrealistic charcoal drawing of a tiger.

A new sculpture from Anicka Yi’s Radiolaria series, in which LED lights illuminate the fiber-optic surfaces of pulsating, undulating forms resembling single-celled organisms.

Art (red) (1972–2000) by Robert Indiana, whose painting Decade: Autoportrait 1961 (1971) is included in The Bowery: Devil’s Mile at the New Museum, New York, and whose sculpture ONE Through ZERO (The Ten Numbers) (1980–2003) is on display at the Parrish Art Museum in Water Mill, New York, through January 2027.